16H x 20W inches
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994). The artist arrived a week prior to the opening with no artwork to install, and created three spontaneous works from locally sourced materials. This one was made of white plastic record sleeves that Orozco arranged on the damp roof of the gallery. He left it out overnight, and by morning there was a layer of ice coating it—a serendipitous frozen portable puddle. The work highlights Orozco’s flexible practice and trust in chance encounters.
Gabriel Orozco could be described as a traveler-artist, without a fixed studio. He works following contexts and produces work that flows. “Special Service” (1997) is a collage on a plane ticket, and indicates nomadism, between territories. The artist, who is the son of muralist Mario Orozco Riviera, questions the boundaries of his artistic identity in Mexico. In “Crazy tourist” (1991), Orozco creates a situation with oranges in the Brazilian market tables in a desert. The artist uses objects or “poor” situations, found in the everyday landscape, natural or urban. By their division, their juxtaposition, or collage, inventing semantic or sensitive scenarios, always surprising, sometimes humorous and sometimes lyrical … The sculptural practice of the artist, inseparable from his drawings, photographs, or films, invents relationships of space, and disrupts our perception of objects. Such is the case of “Yielding Stone” (1992), a photo of a plasticine ball, the weight of the artist, rolled through the streets of New York. Gabriel Orozco was born in 1962 in Jalapa, Mexico. He lives and works in New York, Mexico, and Paris.
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Weekly Picks: Singapore (30 July - 5 August 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Singapore July 30, 2018 How To Be Happy (again) by Ethos Books 5 Aug 2018 As part of Esplanade’s Spoken Word Sunday series, How To Be Happy (again) will start the series off this sunday! It will be an evening of rhyme and rhythm filled with words exploring happiness and the notion of a greater good...
I Am Cuba— “Soy Cuba” in Spanish; “Ya Kuba” in Russian—is a Soviet/Cuban film produced in 1964 by director Mikhail Kalatozov at Mosfilm...
Weekly Picks: Malaysia (12–18 Nov 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do November 12, 2018 Bisikan Monsoon — Open Rehearsal , at Selangor & KL Kwang Tung Association, 13 Nov, 5:30pm An invitation to view the rehearsals for Kwang Tung Dance Company’s Bisikan Monsoon (the show is travelling to China later in the month)...
9 Must-See Artworks at Art Basel Miami Beach - Galerie Subscribe Art + Culture Interiors Style + Design Emerging Artists Discoveries Artist Guide More Creative Minds Life Imitates Art Real estate Events Video Galerie House of Art and Design Subscribe About Press Advertising Contact Us Follow Galerie Sign up to receive our newsletter Subscribe Art Basel Miami Beach...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
Study of History IV by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949...
Through the language of dance and choreography, Void by Joshua Serafin narrates the creation of a new God, the birth of a futuristic deity...
Colin Brant’s communion with the inconstant – Two Coats of Paint Colin Brant, Lake Louise / Poppies, oil on canvas, 50 x 60 inches Contributed by Natasha Sweeten / You might consider the title of Colin Brant’s quietly inspiring exhibition “Mountains Like Rivers,” currently on view at Platform Project Space, an invitation to a world flipped on its end: what’s inherently solid becomes liquid, what’s up is now down...
Days of Future Passed - Photographs by Florence Iff | Text by Marigold Warner | LensCulture Feature Days of Future Passed Collecting photos from her daily life, the Internet, newspapers, and free image libraries, Swiss photographer Florence Iff amalgamates vast webs of organisms, structures, and scenes into a portrait of a planet in crisis...
Presented as part of a recent group of works titled The Paradox of Healing, Rhombus for Healing No...
The virtual reality work Aquaphobia by Jakob Kudsk Steensen examines it’s title subject matter – the fear of water...
This film refers directly and fictionally to one of the first media dramas: the burning of the Zeppelin aircraft LZ 129 Hindenburg as it landed in New York in 1937...
As in other Mauss’ works that often look unfinished, the drawings in Untitled seem ever at the phase of the sketch, his segments as if they may uproot and reorient themselves at any moment...
Bernard Gaube — Hunimalité — L’ahah Griset — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Bernard Gaube — Hunimalité — L’ahah Griset — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Bernard Gaube — Hunimalité Exposition Peinture À venir Bernard Gaube, Hunimalité, 2017, 46x37 cm...