Kurimanzutto, Mexico City
Acquired from the above by the present owner
New York, Museo de Arte Contemporáneo Hispano, Installation Current Direction, 1990
Antwerp, Royal Museum of Fine Arts, America: Bride of the Sun, 1992
New York, The Museum of Modern Art, Projects, 1993
Los Angeles, The Museum of Contemporary Art; Mexico City, Museo Internacional Rufino Tamayo; Monterrey, Museo de Arte Contemporáneo de Monterrey, Gabriel Orozco, 2001
Mexico City, Museo del Palacio de Bellas Artes; Cologne, Museum Ludwig, Gabriel Orozco, November 29, 2006- February 25, 2007
New York, The Museum of Modern Art; Basel, Kunstmuseum Basel; Paris, Centre Georges Pompidou; London, Tate Modern, Gabriel Orozco, December 13, 2009- April 25, 2011
A. Temkin, Gabriel Orozco, exh. cat., The Museum of Modern Art, New York, p. 34 (illustrated)
Mexican • 1954
Gabriel Orozco's diverse practice, which includes sculpture, photography, painting and video, is centered on the rejection of the concept of a traditional studio. Alternatively, Orozco's conceptual process involves using quotidian objects as commentary on urban society. In the widely exhibited La DS (1993), Orozco cut a Citroën DS car into thirds, eliminating the central section and reconfiguring the remaining parts.
Another important motif in Orozco's lexicon is that of the colored ellipses. In his seminal series, Samurai Tree Invariants, the artist employs fragmented colored circles as the basis for geometric compositions, exploring the movements made by a knight on a chessboard. These not only represent Orozco's conceptual practices but illustrate his interest in both the geometric and organic world.
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