Gabriel Orozco
From The Art and Popular Culture Encyclopedia
| Revision as of 10:08, 24 July 2010 Jahsonic (Talk | contribs) ← Previous diff |
Current revision Jahsonic (Talk | contribs) |
||
| Line 1: | Line 1: | ||
| {{Template}} | {{Template}} | ||
| - | Aperto ’93 is the exhibition conceived by [[Helena Kontova]] and [[Giancarlo Politi]], and organized by [[Helena Kontova]] for the XVL edition of the [[Venice Biennale]], directed by Achille Bonito Oliva in 1993. | + | '''Gabriel Orozco''' (born April 27, 1962) is a [[Mexico|Mexican]] artist, called "one of the most influential artists of this decade, and probably the next one too." He was born in [[Xalapa, Veracruz|Jalapa]], [[Veracruz]], Mexico and educated in the [[National School of Arts (UNAM)|Escuela Nacional de Artes Plásticas]] between 1981 and 1984. He then continued his education in [[Madrid]] at the [[Circulo de Bellas Artes]] between 1986 and 1987. A constant world traveler since 1991, Orozco and wife Maria Gutierrez, along with their son Simón, divide their time between Paris, New York and Mexico City. |
| - | + | ||
| - | The show, entitled “Emergency/Emergenze,” signified a shift in the history of exhibition making. Instead of proposing a vision developed by a sole curator – or curatorial team – Aperto ’93 proposed a rhizomic or cellular model. In this model different points of view related to the then emerging scene, deeply influenced by the process of globalization, underlined the necessity of coexistence and cohabitation and furthermore a fragmentation of the way to think and criticize visual art. | + | |
| - | + | ||
| - | Kontova the editor, together with Politi, of [[Flash Art]] Italia and [[Flash Art]] International (www.flashartonline.com), took over the legacy of “Aperto” (the section of the [[Venice Biennale]] devoted to emerging artists created in 1980 and inaugurated with a show curated by Achille Bonito Oliva and [[Harald Szeemann]] and then abolished in 1997 by [[Germano Celant]]) transforming it from a mere section into a real “show within a show,” including more than 120 artists such us: [[Matthew Barney]], [[Maurizio Cattelan]], [[John Currin]], [[Dominique Gonzalez-Foerster]], [[Felix Gonzalez-Torres]], [[Damien Hirst]], [[Carsten Höller]], [[Paul McCarthy]], [[Gabriel Orozco]], [[Philippe Parreno]], [[Charles Ray]], [[Pipilotti Rist]], [[Andres Serrano]], [[Kiki Smith]], [[Rudolf Stingel]], [[Rikrit Tiravanija]], [[Andrea Zittel]]. Not to mention artists from China (Wu Shanzhuan and Wang Youshen), Ghana (Emmanuel Kane Kuei) and Zaire (Botala Tala). | + | |
| - | + | ||
| - | Anticipating “the curators’ era,” Aperto ’93 consisted of 13 sections, each of them managed by then-emerging curators, many of whom are now internationally acclaimed, such as Francesco Bonami (first Italian to curate the [[Whitney Biennial]]), [[Nicolas Bourriaud]] (theoretician of [[Relational Art]]), Jeffrey Deitch (director of the [[Museum of Contemporary Art, Los Angeles]]), Matthew Slotover (founder of Frieze magazine and art fair), Benjamin Weil and Robert Nickas. | + | |
| - | + | ||
| - | The show became a cult event of the ’90s, managing to frame what was happening at that time. [[Flash Art]] main competitor [[Artforum]] published a review entitled "Aperto 93: The Better Biennale". The model of Aperto ’93 is often quoted by curators, and it was a source of inspiration for the 2003 [[Venice Biennale]] directed by Francesco Bonami, the first [[Moscow Biennale]], the second Johannesburg Biennale directed by [[Okwui Enwezor]], and the fist and second [[Gwangju Biennale]]. | + | |
| - | + | ||
| - | The first edition of the Tirana Biennale (2001) and the four editions of the Prague Biennale (2003-2005-2007-2009) must be considered direct propagation of the model initiated by Politi and Kontova for Aperto ’93. | + | |
| - | + | ||
| - | Accompanying the exhibition is an extensive catalogue published by Giancarlo Politi Editore with texts by the curators and intellectuals like Umberto Galimberti, [[Václav Havel]], [[Slavoj Žižek]] and Marco Senaldi. | + | |
| + | Orozco's exploration of the use of video, drawings, and [[installation art|installations]] in addition to his photographs and sculptures, allows the audience's imagination to explore the creative associations between oft-ignored objects in today's world. His work permits a rarely allowed interaction between the artwork and the audience. For instance, visitors at the [[Museum of Contemporary Art, Los Angeles|Museum of Contemporary Art]] in [[Los Angeles]], California could play a four person game of [[table tennis]] on Orozco's ''Ping Pond Table'' (1998). The work's center is a [[Nymphaeaceae|lily]] pond with four hemispherical ping pong table pieces arranged in a clover shape around it. At his exhibition at the [[Museum of Modern Art]], [[New York]] in 1993, Orozco's ''Home Run'' piece featured oranges placed in the windows of adjacent apartment buildings. For the 1993 [[Venice Biennale]] Orozco placed a shoe box on the floor of the Aperto. “What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again”. - Gabriel Orozco from an interview with [[Benjamin H. D. Buchloh]] in the catalogue ''Gabriel Orozco: Clinton is Innocent''. Musée d’Art Moderne de la Ville de Paris. | ||
| + | Orozco has participated in the Venice Biennale in 1993, 2003, and 2005, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). He has received numerous awards, including the Seccio Espacios Alternativos prize at the Salon Nacional de Artes Plasticas in Mexico City (1987), a DAAD artist-in-residence grant in Berlin (1995), and the German Blue Orange prize (2006). | ||
| {{GFDL}} | {{GFDL}} | ||
Current revision
|
Related e |
|
Featured: |
Gabriel Orozco (born April 27, 1962) is a Mexican artist, called "one of the most influential artists of this decade, and probably the next one too." He was born in Jalapa, Veracruz, Mexico and educated in the Escuela Nacional de Artes Plásticas between 1981 and 1984. He then continued his education in Madrid at the Circulo de Bellas Artes between 1986 and 1987. A constant world traveler since 1991, Orozco and wife Maria Gutierrez, along with their son Simón, divide their time between Paris, New York and Mexico City.
Orozco's exploration of the use of video, drawings, and installations in addition to his photographs and sculptures, allows the audience's imagination to explore the creative associations between oft-ignored objects in today's world. His work permits a rarely allowed interaction between the artwork and the audience. For instance, visitors at the Museum of Contemporary Art in Los Angeles, California could play a four person game of table tennis on Orozco's Ping Pond Table (1998). The work's center is a lily pond with four hemispherical ping pong table pieces arranged in a clover shape around it. At his exhibition at the Museum of Modern Art, New York in 1993, Orozco's Home Run piece featured oranges placed in the windows of adjacent apartment buildings. For the 1993 Venice Biennale Orozco placed a shoe box on the floor of the Aperto. “What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again”. - Gabriel Orozco from an interview with Benjamin H. D. Buchloh in the catalogue Gabriel Orozco: Clinton is Innocent. Musée d’Art Moderne de la Ville de Paris.
Orozco has participated in the Venice Biennale in 1993, 2003, and 2005, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). He has received numerous awards, including the Seccio Espacios Alternativos prize at the Salon Nacional de Artes Plasticas in Mexico City (1987), a DAAD artist-in-residence grant in Berlin (1995), and the German Blue Orange prize (2006).
