“We toads are displayed, but without the ambition to”

“Gabriel Orozco at Moderna a safe bet that playing with cultural references”

“It is said that the concept of the symbol comes from the ancient greeks accustomed to give the household guest of a minnesskärva which was broken into two parts. Values kept one half, and if the guest came back in the future, so could the hen be identified by the fragments were merged into a whole. From this is derived the idea of the art, and the love, which it always sought brottstycket healing man’s fractured life.”

“Gabriel Orozco has since the 90s brought a wandering existence, and made art based on the conditions in the places where he had been. Perhaps his most well-known work, La DS (1993), is a itusågad Citröen DS, where the middle part has been removed and the parts assembled to a narrowed variant of its original form. In Modern museum displays, however, a new version of the same work, La DS Cornaline (2013), which differs from the silver to the original by its burgundy color.”

“the Exhibition is home to a large number of photographic works, among other things, Until you find another yellow Schwalbe (1995), a series of photographs in which Orozco went around on a Berlin yellow vespa. Every time he caught sight of a similar ”Schwalbe”, documented he the both of the mopeds together, as a couple. There is also a photograph of a pregnant belly, and a series of paintings that allude to the form of christian icons. The exhibition’s circular disposition amplifies orozco’s investment in the round helhetsformen, and the unifying message of hope and future reconciliation.”

“In the 90’s grew out of what came to be referred to as contemporary art, whose extremes are represented by artists who, on the one hand, played with on the market ever more extreme conditions, and, on the other hand, wanted to construct alternative models within the ”global” circulation of art now became part of. An example of the first type of art was Damien Hirst, while the other came to expression in the relational aesthetics. If the first was considered to be speculative, so criticized the other for a motsägelsfull tendency for social introversion.”

“Orozco, in contrast, always worked with with everyday life in a way which confirms the historical avant-garde strategies, but to exhaust them. He placed himself in the contemporary mittfåra, and became a solid investment, not least for critics around the influential journal October. His ability to play with cultural references, but to consolidate them as stereotypes, made him in addition to a recurring artist in the biennials that in the 90’s was established as the defining event in contemporary art.”

“As a highlight on the Modern appears to be mexican at the same time, in which Orozco made carve pattern alluding to the water that shaped them, but also evokes associations with everything from turtles to high-tech items. But the stones are not only exquisitely beautified, but also points to the consequences of an economic circulation (american tourists buy them as garden decorations). At the same time, it appears that the political content as the most questionable aspect of orozco’s well-intentioned, but a tad one-dimensional, humanism. This is missing something of the experience weight and meaning.”

“the Presentation gives not really the expression of a few artistic ideas, in addition to the desire to set out an important body of work not previously shown in the country. Nothing wrong with it, necessarily, but of the Modern one wishes something more. Or the museum has settled down with the combination of publikfrieri and secure cards that characterized the business in the 00’s? If not, then it’s time to let another ambition visible in the exhibitions.”

“the Modern Museum in Stockholm”