16H x 20W inches
Gabriel Orozco often documents found situations in the natural or urban landscape. He travels armed with his camera and insightfully captures scenes of the everyday that other people might ignore. Perro en Tlalpan (Dog in Tlalpan, 1992) is a photograph of a dog regally perched under an industrial shelter in the borough of Tlalpan in Mexico City. The shelter’s concrete form seems to reference monuments such as the Mesoamerican pyramids in Teotihuacan, not far from the city, thereby likening the dog in a humorous way to some kind of posed sacred creature.
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.
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
In Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste...