Fruitmarket Gallery, Edinburgh, August 1st-October 18th
There's
something very Zen at the heart of Gabriel Orozco's work. This is
clear from even the title of the Mexican-born artist's new show at
the Fruitmarket Gallery, and which forms part of this year's
Edinburgh Art Festival. Comprising a mix of works old and new,
including some pieces from the 1990s never shown before, 'thinking in
circles' offers a conceptual overview of Orozco's work and his
fascination with the circle as a structure.
“The
idea for the show,” according to curator Briony Fer, “was to take
one work, a painting called 'The Eye of Go,' and look at the artist's
work through the lens of that work. Orozco began at the beginning of
the nineties, and made his name as the kind of artist who definitely
didn't make paintings in the conventional sense, yet in 2004 he
started making paintings again. His work is characteristically
radically diverse; photographs, temporary works, drawings,
installations, working tables, and so the show asks what holds this
in many ways incompatible range of things together, and what kind of
approach to making art makes it coherent in one practice?”
Given
that much of the previously unseen work was made in the 1990s, one
wonders why Orozco has waited until now to give these works from
Orozco's own archive an airing.
“The
large-scale acetates are in the show because they tell a new story
about how the artist came to make the paintings like 'The Eye of
Go,'” says Fer, “but also shows him thinking through problems of
abstraction and the Mondrian- Duchamp conundrum from the beginning.
Orozco even made plans of how to display the acetates, which
certainly show him thinking about Duchamp's Large Glass, but never
actually did so. In the preparation for this show they were found
rolled up in his house, and we decided to exhibit them for the first
time. In his notebooks there is a photo of one of these abstract
acetates stuck to a brick wall outside on the street, but this is the
first time they will have been shown inside a gallery. I hope it has
been interesting for him to look back on the work from this time in a
different way and reflect on the motif of circles as it runs through
everything he does.”
Orozco's
fascination with circles itself seems endless.
“The
show is about the way circles hold the work together and why,” Fer
points out. “As a motif he isn't interested in making formal
compositions with circles, but with using circles like instruments.
Circles throughout the 20th century have off-set the modernist grid
and set motion in train and its the movement they create that
interests him most, the way they can rotate or spread out.
thinking
in circles does far more than look back, however.
“Some
of his very latest works are in the show,” Fer says. “They are
river stones that have been carved with circular patterns by a stone
carver, rather like the footballs that has cut into and drawn on -
one of which is also in the show. The stones are a bit like nature's
footballs. There are also some new paintings, so the exhibition comes
right up to now.”
www.fruitmarket.co.uk
The List, July 2013
ends
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