- Gabriel OrozcoBy Ann Temkin and Briony Fer
- Gabriel Orozco: Thinking in CirclesBy Briony Fer
- Gabriel Orozco: PhotographsBy Gabriel Orozco and Mia Fineman
- Gabriel Orozco: Natural MotionBy Pablo Frost, Maria Minera, Andre Rottmann, Yilmaz Dziewior, and Gabriel Orozco
- Tate Modern Artists: Gabriel OrozcoOur PickBy Jessica Morgan
- Gabriel Orozco: AsterismsOur PickBy Gabriel Orozco and Nancy Spector
- Gabriel Orozco: PhotogravityBy Ann Temkin and Gabriel Orozco
- Gabriel Orozco: The Samurai Tree InvariantsBy Gabriel Orozco
Important Art by Gabriel Orozco
In this photograph, manmade objects are positioned in two pairs in the foreground, demonstrating the playful quality in Orozco's work when he first experimented with photography. Referring to these pairs of objects as couples, Orozco anthropomorphizes them, leaning them towards one another as if in intimate conversation or contact. Orozco does not hide the materials (wood) and other physical features of these objects, which suggest their use within a construction site or other industrial environment. When confronted with both the title and the image, viewers can at once recognize the inanimate, fabricated essence of the objects in the picture and also imagine more human traits expressed by them too. Viewers are invited to project emotional readings onto the objects, which are usually devoid of such aspects, allowing these photographic subjects to evoke thoughts and feelings without denying their authentic material components.
As curator Ann Temkin suggests, "there is no way to identify a work by Orozco in terms of physical product. Instead it must be discerned through leitmotifs and strategies that constantly recur, but in always mutating forms and configurations." With photography, Orozco used the camera to study his surroundings in a more attentive manner, finding surprising ways to portray commonplace spaces and everyday objects that give them unexpected lives and stories. This investigative strategy carries through much of his early photographs, as does his insistence on the ability of the flat, photographic image to convey an impression of physical weight and volume just as much as a work of sculpture. For Orozco, the photograph is not a document of something else, or a picture of an object, but rather is a complete composition in its own right that can encourage new discoveries and meanings every time it is viewed. Depicting banal items in ways that suggest personal histories or narratives forces the viewer to rethink the documentary role of photography and the lives of ordinary objects at the same time.
One of Orozco's more paradoxical works, La DS (pronounced to sound like "la déesse," meaning "goddess" in French) is a Citröen automobile that has been dissected and then reassembled. Indulging a childhood belief that a thinner car would be faster, Orozco systematically removed the middle third of the car over the course of a month in Paris with his artist friend and assistant, Philippe Picoli. The outer thirds were reattached to each other, achieving a cartoonish appearance that provoked both fascination and anxiety. Though sleek, the car lacked an engine, making it impossible to use or control as a traditional car. And though it still contained places for two people to sit inside, the seats were now arranged one behind the other, making for a very cramped, potentially claustrophobic, experience.
The DS model had been a celebrated product of post war France, symbolizing innovation and hope for the future. Exhibiting in Paris, Orozco assumed his audience would recall the popular history of the car, enhancing the effect of his alteration to a recognizable cultural icon. As in much of his sculptural output, Orozco's La DS questions the traditional identity of an object, deactivating its original use and place in society while inviting completely new experiences of it. Viewers were encouraged to touch and explore the sculpture, treating the gallery space as if it were a showroom to facilitate a sale. Orozco teases his viewers by maintaining the essential visual qualities of the car, obscuring any evidence of his personal manipulation of it, but ultimately he forces viewers to understand the impotence of the object in front of them.
In this reimagined chessboard, Orozco prompts the viewer to examine the game of chess - its rules, regulations, and patterns - by altering the basic elements of the game's objects and platform in subtle yet significant ways. As Orozco presents it, the board contains 256 squares, four times the amount in a standard chessboard, and includes four different colors of squares instead of the regular two. In addition, the artist has replaced all of the game pieces (knights, pawns, castles, bishops, kings, and queens) with only knights, also known as horses, which are the only pieces that can "jump" over other objects as they move across the board. Orozco not only highlights their unique abilities by removing other types of actors from the chess board, but he also forces viewers to imagine movements that are not visually rendered, effectively asking viewers to engage in completing the art work in their own minds. Though these imaginary movements may be more generally understood through wide familiarly with the game, they are nevertheless intimately personalized as each viewer pictures something different.
Orozco's intervention in the classic game is both physical and psychological: the physical modifications are easily apparent, and the busy arrangement of horses facing all directions within their individual squares offers a humorous and carefree scene. Though the horses are still contained within the little squares and the larger board, they demonstrate a distinct rejection of the traditional constraints they are expected to obey in the context of the game. Orozco here questions the usefulness of traditional situations, subverting certain strict expectations in favor of exploiting particular, inherent features in order to push the limits of what is possible with given skills, talents, and parameters. He challenges viewers to consider whether they are satisfied with the rules and spaces they have become accustomed to, or whether they can imagine new possibilities, using familiar symbols of intellectual acumen to suggest the absurdity of our inherited habits and confines.
Influences and Connections
- Damien Hirst
- Diana Thater
- Brian Jungen
- Damian Ortega
- Alberto Kalach
- Philippe Picoli