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présentation - 展览介绍 :
Rising to global prominence in the early 1990s, Gabriel Orozco (b. 1962) is today one of the foremost contemporary artists, and we are happy to be showing his work in China for the first time.
Gabriel Orozco lives in Mexico City, New York and Paris and inspired by his many travels all over the world, his works span a variety of practices: painting, photography, installation and sculpture.
He often works on the basis of the place and space in which he finds him¬self, and has a remarkable feeling for exploiting the history and textures of his materials. With great ease and sharp powers of observation Gabriel Orozco puts together found objects and materials recycled from everyday use, which he manipulates very lightly: a dried orange partly encapsulated in a piece of rubber (Working Tables, 2000-2005), a metal net bent lightly around three plastic balls (Seed, 2003), gossamer-light lint from the spin-drier hung up as dead hair weave and textile fibers of lived life (Lintels, 2001).
Chicotes, the large installation that fills the whole exhibition space at Faurschou Beijing, is typical of Gabriel Orozco’s reworking of found, everyday material. It consists of burst tyres that he has picked up along the freeways in Mexico. The Spanish word chicotes can be translated as ”whips”, but is also used as a colloquial term in Mexico for these fragments of exploded car tyres that lie everywhere along the roads as a result of the frequent over-use of the tyres.
The force of the explosion has ripped the edges of the pieces of rubber to shreds, and after lying out in the wind and weather they now look like something organic – roots, bark or seaweed. The pieces are neatly arranged – almost in the way we know from museum exhibitions of archaeological finds. Here and there Gabriel Orozco has melted aluminium over the tyre fragments, perhaps as a reference to the whole tyre with its rim, as if the heat from the speed has melted the metal. There is something disturbing about this whole archaeology of urbanity. The idea of speed and ”danger” is supported by the strong smell of rubber in the space. The tyre fragments also point to global eco¬no¬mic differences and to the potential danger to which we expose ourselves every day as a fundamental condition of life.
Walking and observing are an important part of Orozco’s practice, and in his many photo series too, mundane motifs are often emphasized in humble places: objects that most of us do not notice at all in daily life, but which have great poetry and significance: an old punctured football that has gathered rainwater in it like a little landscape within the landscape (Pinched Ball, 1993); a bicycle wheel that has drawn the traces of a puddle round and round in eternal circles – which will soon be dried up and gone (Extension of Reflection, 1992) – or the belly of a pregnant woman sticking up from the bathwater, reflecting the beginning of life in the form of the egg (Simon’s Island, 2005).
Structures, traces, patterns – nature’s own and random ones; others are interventions by Gabriel Orozco; oranges placed around a row of tables (Crazy Tourist, 1991), stones stuck into a metal fence like a horizon line (Stones in the fence, 1989), tins of cat food on a stack of melons (Cats and Watermelons, 1992).
Orozco’s overarching theme is his interaction with the world around him, and his art con¬sists of displays of this world. His works unite the industrial with the organic, the geometrical with the random, the infinitesimal and the universal, the banal and the significant, the moment and eternity. The world is full of things and life that is lived, and in sensual, exploratory and playful ways and often with some part of himself inserted into and affecting his surroundings, Orozco helps us to see things that most of us miss or pay little attention to.
林冠艺术基金会（北京）荣幸地举办加布里埃尔•奥罗斯科的中国首展《旧轮胎》。奥罗斯科于1962年出生在墨西哥, 20世纪90年代初跃升至国际舞台，是当今最重要的当代艺术家之一，现生活工作于墨西哥城、纽约和巴黎。作品媒介多样，包括绘画、摄影、装置和雕塑，灵感多来自于他在世界各地的穿梭旅行。
奥罗斯科的创作基于在其中寻找自我的时空维度。凭借对材料历史和纹理奇幻般的敏感、以及悠然并尖锐的观察力，他把日常的材料和现成物回收在一起，进行随意“把玩”似的再造和变形：封于橡胶里的干橘子皮（《工作台》Working Tables, 2000-2005），弯曲的金属丝网轻轻缠绕着三个塑料小球 （《种子》Seed, 2003）， 脱水机中的游丝光麻布，像头发或有机纤维一样相互编织悬挂于细绳之上。（《悬挂的麻布》Lintels, 2001年）。
大型装置《旧轮胎》充满林冠艺术基金会（北京）的整个空间，是典型的奥式作品——以日常材料和现成物进行再创作。Chicotes在西班牙语中被译为“鞭子”，在墨西哥俚语里亦指那些由于过度使用而被炸得散落四处的轮胎碎片。奥罗斯科沿着墨西哥的高速公路捡拾收集，把遗弃的残片变为作品的组成元素。
爆炸的威力撕碎橡胶，再经过长时间的日晒雨淋，它们被风化成树根、树皮或者海藻似的有机物状。奥罗斯科以近乎博物馆出土文物的展示方式将它们整齐排列，并在部分碎片上覆以熔化的铝，暗示着速度的热量不仅撕扯着胶皮，并且融化了金属轮毂。像是城市考古中某些令人担忧的因素一样，空间中浓烈的胶皮味道烘托着速度和“危险”的气氛，轮胎碎片也指向全球经济的差异，让人联想到身处其中需要时刻防备的潜在危机，或许这已成为人们习以为常的生存状态。
散步和观察是奥罗斯科重要的创作过程。在他的很多照片作品里，平凡的图案或主题往往在不经意的地方重复出现。那些被我们忽略的日常之物中却蕴含着伟大的诗意与内涵：干瘪的足球在凹陷处盛满雨水，像一个怀抱风景的风景(《瘪球》Pinched Ball, 1993)；自行车轮绕出连接两个水滩周而复始的弧线，看似一圈圈的循环永恒却行将干涸、昙花一现(《反射的延伸》Extension of Reflection, 1992)；或者在浴缸里露出水面孕妇的肚子，形如浮卵，蕴藏着生命最初的形式(《西蒙的岛》Simon’s Island, 2005)。
结构、痕迹、图案——大自然的固有或是随机偶然；奥罗斯科的介入诙谐而微妙：市场里每张桌子都被摆上一个橘子(《疯狂的游客》Crazy Tourist, 1991)；挤入铁丝网的石块排列成一条水平直线(《栅栏里的石头》Stones in the fence, 1989)；超市里的西瓜个个都顶着一只猫罐头(《猫和西瓜》Cats and Watermelons, 1992)。
奥罗斯科关注的首要主题是他与周围世界的互动，他的艺术也由此构建及呈现，交织着工业和自然，几何与随机，微观和宇宙，平庸与伟大，瞬间和永恒。世界充满了形形色色的事物和存活于其中的生命，奥罗斯科以感性、冒险、玩乐不羁的方式，把某一部分的自己嵌入其中并施与影响，带给我们一个全新的角度去看那个近在咫尺却往往擦身而过的时空。
Gabriel Orozco was born in Veracruz in 1962, and lives and works internationally. He studied at the Escuela Nacional de Artes Plasticas at the Universidad Nacional Auto¬noma de Mexico and the Circulo de Bellas Artes in Madrid. Following his first exhi¬bition in 1983, Orozco has had solo exhibitions at the Musée d’Art Moderne de la Ville de Paris in 1995 and 1998, the Serpentine Gallery in London in 2004, and the Museo del Palacio de Bellas Artes, Mexico, in 2006, as well as travelling retrospectives at the Kunsthalle Zürich in 1996-97 and at the Museum of Contemporary Art in Los Angeles in 2000-01. Recent solo shows include Kunsthaus Bregenz (2013), Deutsche Guggen¬heim Berlin (2012), the Solomon R. Guggenheim Museum in New York (2012), Tate Modern (2011), Kunstmuseum Basel (2010) and the Museum of Modern Art New York (2009). He has participated in the Venice Biennale (1993, 2003 and 2005), the Whitney Biennial (1997), and Documenta X (1997) and XI (2012).
1962年生于墨西哥韦拉克鲁斯，在世界各地生活创作。他曾就读于墨西哥国立自治大学埃斯库拉国立造型艺术学院以及马德里私立美术学院。继1983年首次个展之后，奥罗斯科曾在巴黎现代艺术博物馆（1995，1998），伦敦蛇形画廊（2004），墨西哥艺术宫（2006）举办个展。并于苏黎世美术馆（1996-97）和洛杉矶当代艺术博物馆（2000-01）举办巡回回顾展。近期个展包括布雷根茨美术馆（2013）， 柏林德意志古根海姆美术馆（2012），纽约索罗门•R 古根海姆美术馆（2012），伦敦泰特现代美术馆（2011），巴塞尔美术馆（2010）以及纽约现代艺术博物馆（2009）。曾参加威尼斯双年展（1993，2003，2005），惠特尼双年展（2000）、第十届（1997）和第十一届（2002）卡塞尔文献展。
Faurschou Foundation
consists of two privately funded exhibition spaces open to the public in Beijing and Copenhagen, established by Luise and Jens Faurschou. For 27 years they have mounted exhibitions of internationally acclaimed artists both in Denmark and abroad. With passion and an eye for quality Luise and Jens Faurschou uncompromisingly pursue their ambition to present highly esteemed contemporary art to the public. With confidence in and commitment to the artists chosen, they develop their art collection. Their collection is now partly accessible at the two exhibition spaces, where they curate exhibitions in collaboration with some of the world’s best artists, curators, museums and galleries. Admission to the exhibitions is free.
林冠艺术基金会简介
林冠艺术基金会是由露易丝和严思•法斯高于哥本哈根及北京创立的私人艺术基金会。二十七年来，他们举办了众多受到国际瞩目的丹麦与国际艺术家的展览。凭借对艺术的热情、独到的眼光及坚定的决心，露易丝和严思•法斯高一直致力于向公众展现最高水准的当代艺术。秉承着对艺术家的信心和承诺，他们不断拓展着基金会的艺术收藏。他们将部分藏品展于北京和哥本哈根的展览空间，并与世界顶级的艺术家、策展人、美术馆和画廊进行展览合作。两处空间皆对大众免费开放。
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