Gabriel Orozco Pořadí knih (chronologicky)

The 2016-2017 Cahiers d'Art revue featuring Gabriel Orozco explores the artist’s recurring themes of geometry, games, working tables throughout commissioned texts by Briony Fer, Benjamin Buchloh, André Rottman and an interview between Hans Ulrich Obrist and Orozco.Abundantly illustrated with series of major works as well as the artists most recent and largely unpublished works, this unique publication also includes an original silk-screened artwork made specially by Orozco for the issue.Also Excerpts from the Catalogue Raisonné of the drawings of Frank Gehry by Jean-Louis Cohen (to be published by Cahiers d’Art in Spring 2020); A text by Béatrice Gross on the late wall drawings of Sol LeWitt; A visual story of the creative process behind the newly opened Skulpturenhalle housing the Thomas Schütte Foundation, the largest building constructed from a model by the artist; A comprehensive essay on the influence of Cahiers d’Art on the work of Picasso, specifically focusing on his ceramics, by Picasso scholar Harald Theil; Portfolios of recent works by Adel Abdessemed and John Giorno; The former is accompanied by an essay by Daniel Birnbaum.

Gabriel Orozco sammelt Texte aus Todesanzeigen der New York Times. Indem er Anekdotisches zur Identität der Toten, zu Todesursache und -datum herausgreift, montiert er willkürlich Überreste und legt Poetik, Witz und Tragödie bei der Wahrnehmung des öffentlichen Lebens in der Presse offen. Orozcos Arbeit ist bekannt für die Verwendung des Symbolischen als wiederverwertbarem Material und für die Fragmentierung und Aufhebung kultureller Instanzen als fortwährender künstlerischer Praxis. Er reflektiert über die Semiotik der Nachrichten als potenziellem Gegenstand der Poetik. Ein einführender Text und ein Interview von Hans Ulrich Obrist mit dem Künstler erläutern die Arbeit.

This most elaborate artist book by Gabriel Orozco examines all possible permutations within a self-defined spatial and color system based on the 'Knight's move' (or as the artist expresses the 'Samurai's move') within a game of chess. In each, a circle is drawn in the centre, and moving out from this point, a sequence of increased or decreased circles is drawn, until the limits of the square is reached. Gabriel Orozco has done a series of 672 digital prints due to these rules, 50 x 50 cm each, calculating all the possible movements and variations. He spells them out by extending them in space. By these simple visual means and rules the artist achieves an almost incomprehensible compexity. This book shows all the 672 resulting images - in White, Red, Blue and Gold. Gabriel Orozco designed the cover as a new artwork referring to the series of prints - by silk-screen printing the colors become three-dimensional and bright contrasting with an unusual softness and plasticity. Gabriel Orozco first launched his “The Samurai Tree” series at the Venice Biennale in 2005.

"Tourism, the largest industry in the world, is a significant force in contemporary society, with far-reaching economic, cultural, and geopolitical importance. Rather than seeking to represent tourism or travel itself, Universal Experience: Art, Life, and the Tourist's Eye considers art, history, and the social construction of places, spaces, and identities from the heightened perception of the tourist. Functioning as a guide book, a reader, and a souvenir, this lavish catalogue of the exhibition presents over 275 illustrations of thought-provoking artworks as icons and as tourist sites for exploration. A wide-ranging anthology of texts presents divergent routes and avenues through which to explore the symbols and cultural conventions created, deciphered, and disseminated by an increasingly mobile, international group of artists."--Jacket