Perro en Tlalpan (Dog in Tlalpan)

1992

16H x 20W inches

Gabriel Orozco

location: New York City, Paris
location: Mexico
year born: 1962
gender: male
nationality: Mexican
home town: Jalapa, Mexico

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.


Colors:



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Anri Sala

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Miguel Calderon

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Harun Farocki

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Kara Walker

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Useless Wonder
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Carlos Amorales

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This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

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