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Rocío Caballero, “Chintolola” by birth and by heart, was born in the Azcapotzalco neighborhood of Mexico City on June 1, 1964. She studied at the INBA School of artistic initiation number 4 and later graduated from the National School of Painting, Sculpture and Engraving "La Esmeralda," where she consolidated her vocation as a painter. In 1990, while she was a student, and together with several classmates, she opened the “FOCO” art gallery in the Condesa neighborhood. During her early years as a painter, Caballero devoted part of her time to teaching the visual arts at the secondary level in private schools.


Her career as a painter spans 28 years. The last 18 years she has worked on the series of images that she calls the "gray elves." 


Caballero’s formal qualities stand out due to her incorporating classical models of painting and sculpture which she transforms into contemporary works that have strong resonance and relevance.


Through her revision of classicism, she has explored conceptually areas related to ​​anti-values ​​- racism, criminality and abuses from the power, among others - by a fabled dystopian world inhabited by omnipotent characters who direct politics, the economy and who are masters of knowledge. In her works, her scenes are accompanied by sarcastic references to childhood idealizations, as can be seen in the series The Anecdote of the Gray Goblins, The Gray Code, The Log of Indomitable Travels, The Search for Ataraxia, Of crime and without punishment and In the Kingdom of Yuppieland.


ABYSS, was her most recent solo exhibition, which consisted of almost 20 years of work and included pieces held in collections throughout the USA. It was inaugurated in February 2018 at the National Museum of Mexican Art, in the Chicago, under the curatorship of Dolores Market. 


In 2016, she published the book Rocío Caballero El Consumado Arte de soñar, edited by Black Coffee Gallery, and presented at the Guadalajara International Book Fair. On crime and without punishment, solo exhibit was presented at the Museo Antiguo Palacio del Arzobispado in 2013, and due to its impact, it traveled to the Museum of Art of Querétaro and Museum of the People of Guanajuato during 2014. 


Caballero has had 18 solo exhibits in Mexico and the USA. She has participated in group exhibits in Mexico, the United States, South America and Europe. 


She has obtained multiple awards and honorary mention at several biennials and art competitions. 


She has had artist residencies in: Chacala international artistic residency, Nayarit, Mexico (2016-15); Vermont Studio Center, Johnson, VT, USA (2003), and with the support of CONACULTA INBA; INBA and NEA Exchange Residence at Art Awareness, Lexington, NY, USA (1994).


Her work is part of collections in Mexico and the United States, such as the National Museum of Mexican Art, Chicago, IL, USA, Collection of the Archbishop's Museum Heritage Collection, Millennium Foundation, Black Coffee Gallery Foundation, the Institute of Culture of the State of Campeche and the Kaluz Museum in Mexico City.


She has ventured into graphics working on co-editions with the workshops: Caracol Purpura, Colectivo La Malagua, Extra Editores, Pinacoteca 2000 and La Trampa contemporanea. Her work is published in the following books: Entre Bastidores, ed. Black Coffee Gallery, 2018; Rocío Caballero The consummate art of dreaming, ed. Black Coffee Gallery, 2016; VISIÓN DE MÉXICO AND ITS ARTISTS, TOMO V, Lupina Lara, Ed. Promotion of Mexican Art, 2003; THE FEMALE NUDE, A VISION OF THE OWN, Lorena Zamora, Ed. CONACULTA, 2000.