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.
Gabriel Orozco often documents found situations in the natural or urban landscape...
Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...