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:



Perpetual Motion Two
© » KADIST

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Untitled (series)
© » KADIST

Francis Alÿs

2006

This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...

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© » KADIST

Keith Tyson

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7″ Single 'Pop In'
© » KADIST

Martin Kippenberger

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Until It Makes Sense
© » KADIST

Mario Garcia Torres

2004

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No Title
© » KADIST

Félix González-Torres

1992

Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...

Meeting #100
© » KADIST

Jonathan Monk

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Pipe Opening
© » KADIST

Jeff Wall

2002

As suggested by its title, Pipe Opening (2002) depicts a hole in a wood wall exposed by the removal of a pipe...

Los Mutantes
© » KADIST

Pedro Reyes

2012

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The Left Hand Can't See That the Right Hand is Blind
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Douglas Gordon

2004

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Pasajes I
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Sebastián Díaz Morales

2012

Pasajes I is the first in a series of Sebastián Díaz Morales’s four videos Pasajes , which focuses on a solitary man walking through Buenos Aires...

Untitled (Rolled up)
© » KADIST

Jonathan Monk

2003

Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...

Suspension
© » KADIST

Sebastián Díaz Morales

2014

In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space...

From Useless Wonder 04
© » KADIST

Carlos Amorales

2007

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

The Transparencies of the Non-Act
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Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...

El hombre que hizo todas las cosas prohibidas
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Carlos Amorales

2014

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...

The Making of Monster
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Douglas Gordon

1996

In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...