Gabriel Orozco has emerged in the early 1990s as one of the most important artists of his generation. Constantly moving, no studio sets, it rejects the identifications national or regional, and draws its inspiration from the different places where they live and travel. His work is characterized by a keen interest in the urban landscape and the human body. The incidents of daily and familiar, whose poetry is the coincidence and paradox, feed his work. The boundaries between art object and the everyday environment are deliberately blurred, deliberately mixed art and reality. The movement, expansion, circularity, the relationship between geometric and organic, are constants that drive the visual research for over twenty years. This exhibition is a unique opportunity to discover an outstanding collection of drawings, photographs, sculptures and paintings, most of which have never been shown in France.
Artist constantly moving, with no studio sets, Gabriel Orozco (1962, Jalapa, Mexico) rejects national reputation for taking her inspiration from the places where they live and travel. Universal Pictures, his works s'appréhendent significantly and sensual. This exhibition is the first dedicated to the Centre Pompidou Gabriel Orozco and the only large-scale presentation of his work in France.
The artist was closely involved in designing and runs past eighty works, many of which have never been shown in France.
Orozco's works make up a universe characterized by a keen interest in the urban landscape and the human body, as the incidents of everyday life and familiar. They feed on his work, including poetry is that of chance, paradox, and that blurs the boundaries between art object and the everyday environment, between art and réalité.Le movement, expansion, circularity The relationship between geometric and organic are also constants that drive the visual research for over twenty years.
Unprecedented opportunity to discover his practice open, scalable, ladders and various mediums, the exhibition shows the full extent of his work, photographs, sculpture, reconfigured, drawings and geometric paintings, iconic works of rarities or very Recent, as well as sculptures made from tree trunks found in the Mexican desert.
Gabriel Orozco will propose a system based on the idea of the workshop: the works are arranged with the utmost simplicity, as at the moment of their creation, before incorporation in the "camera museum. The vast plateau of the South Gallery is left "wide open": the glass walls that overlook the city are not obscured. This direct contact with the street echoes a work space in which the public holds a special place. The small sculptures are placed on market stalls used as My Hands Are My Heart (1991) mentions the relation to the body and consists of a ball of clay heart shaped retaining the imprint of fingers of the artist, echoing a diptych showing the development process.
In Horses Running Endlessly (1995), expanded chess, the pawns are all riders and the game - and subtly altered - generates new paths, creating a circular pattern on the board. On the walls are exhibited paintings, photographs, drawings and other works on paper. The selection of photographs from the early 1990s fall into two categories: pictures resulting from an intervention of ephemeral artist who manipulates objects into assemblages poetic or humorous, and snapshots of simple elements gleaned from the public space. Drawings show the value of Orozco for the organic, the circle shape, expansion and the cosmos alongside Atomists (1996), a series of photographs of athletes cut from the newspapers, on which the artist printed circular forms, obtained by magnification of dots used in the printing process and then painted in gouache, prefigure abstract geometric paintings made from 2004.
The artist often works from found objects, sometimes waste it reconfigures, in a subtle means economy, describing himself as a "consumer of whatever is at hand and a producer of what exists already. The Working Table (1990-2000, Centre Pompidou): a collection of found objects, modeled, and models of works reflect ten years of experiments. The larger sculptures, placed on the ground, were born of a strategy for extraction and reconfiguration in Orozco's work: the artist is not distracting from its original purpose, he reinterprets. The DS (1997) Citroen DS car cut lengthwise and reassembled. In this work, as in Elevator (1994), the artist draws a reduction of a common space and everyday, which is altered and trapped in his office. Elsewhere, several areas based on land, among them Yielding Stone (1992), a ball of Plasticine qu'Orozco was rolling in the streets and aggregated the debris encountered on the road. In the exhibition space, it continues its collection, attracting dust and calling on forever, like the work of Orozco, in constant transformation.