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Throughout my professional career I have worked with diverse audiences, either consumers, students or the general public. These audiences have been very different and complex. I have had to apply creativity to better suit their continuously transforming needs. I have been both a passionate observer of the process and an active creator of communication for them.
 
 

Creativity is in the air

Universidad Nacional Autonoma de Mexico, Universidad del Valle de Atemajac, Universidad Tecnologica de Mexico

2000-2006

 

To observe students’ minds while in their quest for knowledge is something extraordinary, that I have had the opportunity to experience as an Assistant Professor.
I have always supported the idea of extra-mural classes. Since the content of a program is usually vast and ambitious, I strongly recommended to my students to take classes outside their program, thus changing their traditional passive role to a more active one. I believe this is healthy for the mind and teaching it is really fun.
 

 

 

 

El museo del agua

Agency: DDB Mexico

Client: Consejo Consultivo del Agua

Year: February, 2005

Creative director: Ricardo Cie

Copywriters: Rafael Benitez and Javier Malagon

 

Mexico City is running out of water BADLY. 

Inhabitants are not conscious of the situation, as they are complacent of official traditional campaigns asking people to be cautious.

We created a fake itinerant museum in the most crowded squares of the city, showing the water as a memory, something that no longer exists. Hoses, buckets and other everyday plastic objects were showcased as valuable. The museum depicted a dark future about the city if people stayed in their comfort zone.

An estimated average of 1,000 people visited this museum daily during the fifteen days’ exhibition. The campaign won several advertising awards and was positively reviewed by local media.

 

 

 

Les Recollets

Paris, 2008

 

In 2008, I had the opportunity to stay in Paris for a year, working on a personal research project about the parallel cultural visions in everyday objects such as local brands, transport tickets and Parisian cultural references.

I was then commissioned by Chrystel Dozias, the director of the Centre d'accueil des scientifiques et artistes, to organize a series of leisure cultural activities for the artist and scientist staying at Les Recollets.

While it was a big challenge to organize activities and attract the attention of English neurobiologists, Italian astrophysicist, and Iranian photographers, among many others, it allowed for the transformation of this diverse group into a very participative and curious audience.

 

 

 

FAKIR

1998-2005

 

Fakir was a creative collective I created, rooted in Mexican popular culture. In the early 2000's, we challenged the marketing rules of museum exhibitions, conferences and galleries, by playing with status-quo and inviting visitors to play as well.

The result was controversial: even though in the local sector some traditional minds, mostly officials, thought we were superficial, the majority of visitors felt positively attracted to our ludic and fresh vision of culture.

Consequently, Fakir became popular and started to be invited to lectures.  He was invited to exhibit at the Contemporary Art Fair in Madrid in 2003 and to la Triennale di Milano in 2005, sharing the stage with many talented artists such as David Carson and Stefan Sagmeister.

Fakir was positively reviewed in newspapers and graphic design magazines in many countries that discussed contemporary art in Mexico.

 

 

 

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The Museo del agua was visited by an estimated average of 1,000 people daily in 15 days.

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The museum depicted a dark future about the city if people stay in thei comfort zone.

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The Museo del agua was visited by an estimated average of 1,000 people daily in 15 days.

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