Gabriel Orozco_Cap 3_Lista de Obra y Agradecimientos

8/3/2019 Gabriel Orozco_Cap 3_Lista de Obra y Agradecimientos

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R e f u s e a n d r e f u ~ eBt>njamin H.D. Buchloh


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"TillIS the art uf Mpxie:o hus n:adled a turlruleut maturity attained ~J'tel' a .~tr u ;;;.;leuaain 'I the bonel~ that held il Iast lo Iailcd traditiou , The liberation or .\'lexi~all artruns closely pan'.lIe,1 to the social and political liberatiou of the nation it elf. and ifthe participution of' tile-: urt ist s in this struggle: hael lu-i-n le:,;sardent. pl:l'llaps moder-nMexican art would huvr- IH:Ve:I'sholl nits pn:se:nt vige)l' awl new vision."!

T he heroic munu-nt that the' painll'r Coval'1'ulJial; cvo kcs in his catalogue inu-oduc-t iun lu lilt-' fin;t tanel fOl' the: time: being the only) stinc)' exhibition of .\'lc~ican arta I I he \1l1seulll of Jloclerll Art in 1Y10 seems to ha c becn 10 t on 1110 t of the COIU-mun t\\'ellLieth e:e:lltul'y art historic , A mom mt when it appeared po sihle in dexico(as it had :;ho.-tl)' heron' ill We:ilual' Ccrruau and ill the '0 ict uiou) that arti ticpractices and politie'al dlan;;e: cuuh l ],e' autivel y and intricately correlated, that newforms uf urt isti disu-ihutiou and simultancou collective reception (the mural audthe prin led IlnlaelshcTt) would cngage and activate the rural and urban lila se in aconrinuuus pnln:ss of political information, cou-viousness raising and ;. ;rowin;.; 8elf-determinu Ion,The loss of this historical IlIO IIIC 'nt, 0 1- ru tlu-r, the: pruhihition 111 ' this communicativemodel of aesthetic pl-udllctioll alld I'pc'eption, and ib subsequent replacement by theI'sllt t' l' ie: model: of modernit y , has affel'ted ull uul tu rul e:ontexts of post \' oriel \Val'lihisturv with equal viuleru:e allel it lias ge~llt-!ratl~eltill' pt'c:uJiar hegemony of an acsthet-i(' or wilfully 1II111ed01- vo luntu ril v silelln~d ohje:c:ts_I I I IIf1C(J the 10 'S of Litis ut op iu n urriou of tile politil:al a nd the artistic avanrgardc inMe:xil:o was alreadv iniliaLed ill Lite "e'-, exhihition l rr:ojl~1'l at the )lusl:wu of LodcruArt itself (ami this is IJeeulia.-ly evidpnt ill the t ru nalut.iun of Coval'J'ullias' text intotho specific iustitutiuual lallguage of th e:atalllgul: wlrich shifted aurl Ial ificd the11:I'II1S o r discussion 10 problems of cu ltu ru] I-alliel- t liun soc:io-politi,:aJ histllry, em-phasizing artistic SII-u!!;;Ie::' OYeI-poiiticu! ones). ~\\' hen S('I'1l against this histuric ..d buckgrouud il becomes eusier III n:I:l lgni:w the: dc:-gn'c' til which a suhlimutiou uf lite pulit icu l illlpuises uiuxt huve lu:en difficult but nee-c:ssal'y lu-Iurr- Mexican post-war culture could achieve the level of abstl"ae:Lillll that\\'ollid make it urucuually ami formally ~olTlpill-able to tlte lIIu:;1 advalle:ed for'llls ofeSllt",rie- "ilt'IH'(' within Europeau or American po u-war ruoderriism. Pa ruduxicully ,0111' histurir-ul and theoretical di tance to this aesthetic uf ilence hus gntdlwlly ill-I'I-e'asc:d - partially a' the result uf a long and complicated an:lwolllgy I I I ' lltosl' IIW-ments r-xr-mptcd hom the silence uf 11I0denliSI1I (e.g. JUltll ITeal-tfielei 01- Le:o!,olcloMe~l1dvz ), l'aJ'tiall) as the resul I uf lite recogn i Iion tlta t lit i . aeslltetil' of silemc:e: is Hilt(lnl~ a licroi achievement but also a Iatul refuge 1'1'0111 which difficult but lIel'pssaty;::L(1)5cun Ipad to rudir-ally redefined artistic and activist practices. This archeologyenahle" us at this point to reverse the perspective 011 criteria of aesthetic quality de-fiuerl a:i the') WI:l'C ill couipliance with the principle or enforced Ite"'lIelici '111. nathel-than a~killg h011 succes .lul a work Ita been in suppressing it- .ouuuuu iru tive aspil-a-t iuns 11'1: e-all UUW question the degree 10 which wor-ks of the I-eeelil past have vol uri-tarily emhruccd the cuuforruity uf silence ; or tu what extent Liley have 011least . , 1 1 -lell1pledto initiate a critiquc of this uructure of l-epres iou operative within the "el-y

:1 C )


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1'('!I(l.e/o. 11)93

c nn ~titu tin g 1 1I" in ('ip l( ';.; o f Iu-i I ' 1 ( ", I1I 'I i ( ' ( onYl'n li on ,. b\' d l: ll l{ "l I! ;i ll ~ a ll d 1 , rl l" il l_ l! :t h equir-tisti ronditions of mod "1'11 iSill from w ith in.Evidcntlv then the rclnt ionshq, h r'tw ( 'pn the hr-gr-moui iuxt it u t io u s alld di,w olllS P.";IIf post-war modrn-nism anrl rnaq~inal rultu re s art' f l 'al lght [roru tl1(' IlII"'' '' wit li 1111-IlWI'OUf' and ('ompll'x (1'14~lioIlS ... \ny cm-a tor-i al Ill ' 'Titi"al !!P"IIII't' pl'(l('lail11ill~ I,)hu vr - o v e r c o m e t hc C'olllrndic,tillrl" .111(\ t he oPPI(;;Silllll':\'Tt,d in tilt' 111lt'YI'lIly d e v el -oped fidd o r C II II lI I'n l p rn r'l i," 's dpsl'rv('s our profollnd ""( 'pli( 'i 'l1 I_ if not "lI"piciol l ,eve l 'Y rlu irn to rr-mr-dy CI1111l1. 1 r-x r-lusion . ahanclonnu-ut a ll d I Iq !;1 1 '1 'I i" IlIlW i u m e rl i-ntely mat('lH'd hv a IflH'SI fOI' IJ.,~ rni ni nj; of prr-viousl , IIl1dis"OIl'I-{',j I-PSIl\IITI;'" an d( 'v e l' Y a rg u ll w nl for ti ll" iu r-Ius io n or the obsolete aur] II...m al-gillal into t he visihilitvof IIII ' Iushion momr-nt rI('!WI'I'('S lilli' sr-ru rinv,

,\s Humi Bhuhha has nr~lHd "OrJ\ ill( 'illg;I~ r, the ( 'o n( '( 'p l o f " ('1 11 11 1 1- 01 1f 'la lt'd ne ~,," . lik ei ts c ou nt er pa rl "a, srhr-u '1".dit)' ' ' . are two ;;t l'l lf 't ll l'l ''' o r h "! !;" lI lI ll li r' , hO I lg ;J ., est ah-[j:;hin~ a typicnl don hlc-hi ml I I I ' domination, R ,)th HIT ( ''1 " al ly e ff i( 'i en l as stl'atcg-i('~of control uml r-xr lusion , Sin('f' th .. y position allY fon)) of u rtir-ula tion , contestationand r-ririqu . "oi,"d hy till' marginalized and Ih ,' JlI'I'violl"ly silen ( 'cd iI.; a d cv ia ti nn40


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from all ,'sli lhli~lwd Illude I of he~I'1Il01lic cultural p rorhu-tion . On 11Il' unc hand they'If'knowll'd~r' the im-vitahle ellll')' of these rouunurii tiex iuto a tatus of linglli~ti(' ('0111-1'' ' ' ' ' '11'1' [within 01' outside the u-rrus of hegemonic tlistOIU',T), hUI on the other handthl') "IHII,';;;;ly tld'l:r till' rl'l'ognil.ion of these pructices ternporully along the paradoxi-nil axis of lilt' ")011 ,'ollie 100 lute bUI WI: will admit you 1..1t>1-"aml struc turallv alonl!;thr- axis of ihr- al'gl~III1'lIl "yuu have t'nten:tl a symbolic system but it is inferior 10 the011(' h) whic-h I\'(' nile,"Thl,'('hy Ilw IIf'g(,1Ilouic vuice 1101only reaffirms its own ru no n and established l' .. k-gl ll'il'':; hUI it also refutes fnllll lilt: outset (and ignores compll:lt:!)') that any contestn-t ion of dominance would obviously oper-ate according to terms radically diff .. rr-rit[rrun those of the dominant cultnrul uuulul.MOl't importnntly , lH'g('llIollit: pusitiun refuse 10 accept ,J III,('jni tion of culuu:al pnlf'-tin' IIhid. r-mphusizcs t hut the Jlolitical effect of inil.i.lling language competence andulturnl. institutional and Jlolitical rcpreseutation i~at all)' moment infinit,'ly morr-impl ....tanr hoth culturully arul politically than Iht' l-igIlI'UU" enforcement of till' SIIP-pos.'d quulirv stuurlurds of dassical modernism. 01' any other tradition fOI- that mal-trr.

1t i~r-rru-iul to n:(;otruize that litis cxcrci e of power opPI'ah:s intra-culturally (",!!;, in11('1\\('1'11 IIu- I uriuus phases and moments of the dt'vl~loplllt'1I1 within diffpl'l'nt l'IIItIlI'-ill C(IIIIIIIII nitii-s , i.e . gl'f)IIPS of 'speakers' diffCI'enliatl'" by history, 1-!;eo~nlphy classlind :.;cnd"'I', differentiatcd 11101'1: importantly. by nl'I,ds and investments in that Ian-g:llil~l' ('OIllPI:II'IH:e) wit!' IIII' same I iolcut pr'c;;l.'l'iptillns and exclusions as it impost',its Iegi,latlll'I' all the IlIl... t' M ' injra-cuh urolly , (i,e, in its attempts tn pn's,.,.il", andjl, 'ohihil. which !JOl'lII" uru] l'anilliglll" of culturul pnHludion are ndmissihlo within aIWI'Iil'II1al' history). This is IIIosIevident fOl' I'xample in the inter-minn hle debates.. J)I)1I1 1111: hicrurchies of puintiug VCI'SUS Il0l'lImt'ntar'y photogr-aphy, of ubstr-acrion\\'r,,"~ fi;;III'alion. the ~t>elllill;;;ly autonomous anti so calfcd 'poetic' pnll:til'''s vr-rsu:the ~('l'mingly in 'tnullcnlali:t.t:d, ic. activist and pnH IIII:ti ist models of r-ult urnl COI l l -ruu nir-u Iion and intervent inn ,Wit h in tl u-s!! dchutes till fad. for the most part they an : silently executed jlltlW'Jlll'nlSwithout dl:"atcs) it i s I IC V t> I' a problem to enforce IJlli.. tl y the' tautology of self-uffirrna-(ion and Pt'l'Jwtuatioll of hegl'moille concepts (e,!!, " .. , whatr-vcr ),011 might have: tnsa)' about .lohn lleal'tfieltl, Matisse remains Matisse, "}. Yi-t it is more diffieult to ana-lyz It!)W Lht' sl'et:ilic reduct ion of tht: aesthetic 10 a t a utolouiral dcfinirion SIH""'!'I.- atall lilllt's 10 establish its im-vit ahlc link wit h 1)lIWI'1'. Or, perhaps in rf'VI'nW, howpower onsisteutly ,,;ean'I,,:s out those arristir pr ar-tir-r-s that seem to huv forfdl.l'dany I,'OIlIt:slalury elelllellL how it searches out work which - reappearing in the glli, cof uest lu-tic self-sufficiency - renews it ancient "lIianr:r:s with mythical forms of (,XPI'-rieuco ,

** *"Thai while silence is .I1:feal. it serves (. .. ) horh as a sanctuary and af; a place ofbuntlag", Silence is ( .. ,) a fated exile. yet also a homc , a destination and a bindingouth , '1'" !1(Jl'durll fl-omthis silence is rule I-ather than e: ccption." 3

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f)PSIIIII[", 1990

Once agaiJl currr-nt hop's c I'("'t From artists of marginnlizcd ('III1I1I"1'S (holh of theurbau !;heltoes anti the non- \''\fl'~te''n world) 10 n,dt't'lll the crisis of 11'11' rt i sf i r- objectanti to reimhue it lith a credible uurntie dimr-nx ion , defying as i WI'I"I' t hr - now ~en-erully go crning principl s of simulation anti political insrrunu-utalization of artisticpractice ill tlu- c'elltCl', CU'T,'nt ('11II111'aI u~pil'atiolls long fill' a 1-t'I1('WI'I, c r-n d('(~p('r into 0111' pri m it ivist I'roj"I'-42


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tious and a;;(I;I-.-.lion;o Ih,') inuuediu t...ly respund by l'lllIillolillg U uf t hc til', t r'ur-tio nIIHlI the \, \,"'SI( '1-11 world h.u Iti'lol'i('ali) brought about in tlu- culture fl'om which ilasain lind "gain claims ucsthetic redernpt.iun. Orozco' suulp t urx-s articulate them-sr-lvr-s within tltn most r-urnp l r - x Illude' uf reflpr:tion and \ ithiu the idioms of WesternEllrop('nll and , \ 1 1 1 -rir-un rnodcruism. lIis emphasis ou procednr ...... nd ge ture and111f"1I1o"pholo~~ of his srulptu res 'Cl'JIl 10 rei te rut e the syuthesi of indusu-ial mate ri-ali' and 1!'('stur'aI artir-ulution that delel'lninerl AI'It! Pouera and p()st-minimal culp-11II ' f" of t~1I' lair' If)()O,:, YI'I cv cr y une of On)zl'o'S \ ork imlllediat,>I) respond to at-tempts to a ,. ,~ ill li la l( ' i l IIII'ld. within a Eun'Jlc:an ur American PP"sl"'I 'li c ("YOII havear-quir-] "oIllIWll'l1( '( ' "lit you curne tuo luu-"] with an e .plici! u rt iculat ion: a ser+iru;horh its histnr: and g"o-politi('aL indepeudence in tenus of OIO:l.('O'S r-ultural hi tory,a" mnr-h as its ,~(lo'r.ifi(diff''l'(;lIcC in lenns of '\ cstcru modernism.01'07.('0 H'C'IIIS 10 huv- under 'Iuud "l'I')' w . ..11that uur ex pect at iou 1'01'a reconstituf innof n SO~IH'I 'ul( ' (";1lo:"or. uf the 'sculpturu!' would be t a nt armru nt t o i mr ne di nn o,laillll"r o t , a pI'iYil"l;ed nuule o r experieoce, intricately linked at tl.is point to any of tilt: tr a-dirioual urtist!c ,';)I("'oril" assert in]; itself ill unperturbed validil)" How could tlu-modes 0[' ('XI ('riO'Iw,' iuhcreut in 111 l"w o'alt',;ol'ics and the p"I.lirs who claim to huvr-ar( '( 's~ tn tlWIII not inevitubly cnd up ill tho' confinement of tlw acsth tic fetish? lidyl'l at this pui nt sr-ulpuu:c p rumises t lu- bodily ex per-ie nr-e of the 'opacity (I f thr- liigni-f'ir r mo rv t hun all) ot her fOl"lll of aesthetic comum nir-ut ion , eCll1inf;ly a hastional!:llin,;t till' [ina litv .. I' inst runteutu liz . ..d imag-ery. against tlu- order of communir-ati f'action.Typicul of the do'sin' tu C 'lalJli~1. all opaliue. ii-reducihle unrl indivi ible mun-r-inl ex-Iwl"i"IIO' ( ' wit h a rt ist ir- IUC.1I1.!:!i:lilt' ITCtll'l'eUCC of the iruh-xir-al procedure. an 0Jl(:rfl-t ion that o,laillls the mate riul ll'ao',: a~ strictly uon-trunsr-r-urlable , 11 a (1111"1' matr-rinl(,UlIHulit)" lli i slIpplI: 'l!d l ink wil l. t ln- performing body SP('IIIS 10 suarantee that body':rcsistuuce again;;t metaphysics (both that l' ol'i~n!; as mur-h as that of irrtr-r prr-t a-tion }, O r'o zc.:o ';; .H is 111/10:; stili nii COI'I1=OIl (My lian d IIII' my heart (1990 :,!(,o1, 101'('" pond d i1('r-t1Y t.) this desi I'e fou' a ruconst iuled fiction of sculpt ural ,,It'l1lC'nta rit)'.Pl'f~~sin~ a nd impriutiug his Iralld, iuto a lump O I f I n - i r - k clay 01'0:1.0'0 IIl-odllr( 'r1 IIstran1!" hybrid hetwecu lute Sixtio's' purely inde .icnl SI'IIIPIUI'IIIIH'ocedlln:1i (slI.-:h n,tht: casts of bod. part' in Unit:... 'iaullI3u" w rk and till' specifically l.atin ...IId His-puni i('ollognlphy of the heurt . Tln- upparent simplicity of the gesture and tho' r-om-monulity of 1111-'urchaic indusu-ial nra tc rjal , h wever , "...pm 10 engage prr-risr-ly in III'rojt("( of dplll. thificatiou of huth , the feti hiza t iun of t ill' sculprural nhjC'd n, mucha~ til l' loud ...d imag' of lilt' lre;!I'l ill Iavor of a secular o'IIIph8 is on the I'rOlj( ' ,~1. of, rlf-rlr-fiuition in rh I'l 'or:ess of 1"'ot lUl' l ion, O,'07.o:o's mntr-r'ialj I f O (,I II 1 on thn link he-twr-r-n the p rud ur-t iuu uf id . ..lltity aud the php;if'al and mater-ial t runsforrnntionthrough prodllf'tivl' laLor is l't'IIIillisn"llt of au ea rly and rr-lauvcly unknown in. 111111'('of thut pro( ,pdlln ' of indexical inscriptiou which tIll' a rchitcct Antonio Gall"i pro-oIw,t'


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ill ( 'onteruporul") , ur .hitecturr-.UntlouiJteilly a work sur-h a, Ill; mann es iu 1IIf'11I0l';U tlt-! IJ~/)(IC;O (M y luun! is till'lIIel/wry ofspoce] (1991) ~(,I'Ill, uru hinkahh- wit h III a ce rtain k uuwl .. dgl' o r lilt'sr-ulptural trunsforruations that EIlt;Ii!


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skirt . of eVI~r~ industrial IIlt'll"llpol.is and it fuse: t lu- pr'omi: (' of PUI"I' eOl"pon~al bliss(that of ple-ni tude 01' tliut of play) with till' nwmOl'Y ofimminent i-r-ologir-al suffocationuud cullups.:- \ siru i lu r su-iu-ture (lellllt's Orozco's peculiar inst allarinn entitled Turista maluco(ent:;y '/'1.I11,.i.~I) (1991). TTp.rt, OIH (' again , thc> t ypiral projer-rion with which We? in-\e'l Ille illla;;:e~ of exoti mal'!-cis in rural c'c'onomif's (how JIlin)' 1'0~h'I'S of marketswith ovvrburgconinu fnlils have advertis-rl Oil" desire for nuturul plenitude in thephaJlta"lIlagoria of primit iv economic n'lation:) is litr-rnlly inverted to nppr-ar us theilllage 1 ) 1 ' ulk-guricul ,,('an'il~' and of actu .!ly c'xistill l!' rm-al poverty.'I'lu- ubjecl-lypl' which appc'al's to u only in I.lI'gl' accumulutinns (produce and fruitsin nuuk ets) and as Ihe lIalllnllizcd erial ohjpl'l of inrlu: triul ugrinutur . appr-urs inUrozvo' objet:! pe rfur ma nr-e (where hc> pI:W('r I single onlllgc!: 01 1 the tahles of atlraziliall market afre r dosing lime) slldclc~nly an d precariously isolatcri.Uruzco's 1II0st recent srulprure Piedra (JIU cotle (The yif'hlillg stone) (19');"), seems 10n'\ el'~t' t lu- principles of' .\'o/llraleza rern porrula , Hathr-r than dt 'pnlting fnHLI iu-dusuiul rr-sidue this wod, define itst'lf hy means of 1111admittedly lIIinOI' studio UIa-Ierialll,lastit'illej w hir- li I'; used fOI' ehm,.ntar .. cu lptu rul sketr-h ing , in urr-hitecturalmudd uruk.inj; and fCIl'hildrcn's mod,.lIing g alllf ' .. . . \ 1 ' alri-udy indicated in the J.!'UU-duxira] ti tle about t lu - malleab le sroru -, O roz.r:o S(,f~1l11i to .carch out t lu - uuified ireand couu-rupt of all t ruditinnal sculptor's ('or' whom the rr-si 'Ian ze of till' naturul ma-lel'iul i~ still an e!;,ij>nlial parr of t hei r c'odr of honor. The vulgaritv of highly mal-leable pl ast ic paste ill tlu - sh a] t' of an anll)lpholl. I U I l l J l und the artifir-iulitv of its 1)1,1-terral ol'i;;:i11' sl a nd in "lad, cont ...lst to rhr- quest for th e naturnl nobility uf wood ,~1C)1lt' awl steel willI which sculptors lip 10 Andre and Serra rill limited their mute ri-al lruriz ou.\VOI'!;t' )C'l. after h,n'illg mort:' ol'll'sS fonllNI rhi: hlurk IUITIfJin Ihe>w,~ight of his 011"11bud)', Orozco e'(I,lt'ls il into the st rr-r-t wlll'l'e il is ~lIppost'd to absorb ri-sidue and pur-licit'S, IIliatcver al'l'idc'lIlal de hris and dllsl il" snrfar- r-un collect and IIhutcver I.e)(-true awl structurv lIIighl imprint itsulf 011 its skin in till' accidental coustellatious ilencuu n tr-r's w he n bpill/? rot atcd.:'Tilt' 1IIIIIdn'ci' of anOIl)IlWIl find l'illndc'slinc fingr-r-imp rints with which spectatorssecretly trir] their hands and the plastil'illf' hall's SUd'U('I' and Ilwtt'l'iality during itr event r-xhihit ion makr- it probuhly a rn o rr- acr urutc definition of the current condi-liolls and possibilities of pnhlir snrlpllll'f' than the hundreds of buck-lit hillhuards.slide projections am] one-liner sratr-uu-n ts t hat huvr- hceu paraded through tJI~ wellc:;l,dliis 11I:d ('IIa 11nc,l" of prcrletc l'I11inrd r-onr-r-pt ions um l ins titutions of public .II!.01UZ(:I.I's atavistic OJ.jl'I'1. with it relal'sl' into a primury rouccpt of murr: tactility a' apal'licil 'alol'Y modI" app('al'S 10 pn,fpr ITII1I('lI(,S.OV('I' the myth 1 . 1 1 ' public speech, BillIJri::;muteness wOlild I , , " in find of i t s r - l f dC'f"ply rcprchen iible if it was 1>1'(' .ented P.11I-phalil'ally and with rr-ac rionu r y I:OInirlion find Minimalist . pill' in the uianue r ofDonald .lurld fm' r-xampl. Hilt 01'0:;>,('0';; objects exude a . ilenr- that is always a wa rvof its inflicted and t ra nsitor-y status. il i.. neither ostcnuuiously displayed as un aps-tht'li!' pl'il'ilel!:e nOI' intr-rnalizerl as an iucscnpnhh- I'onditiou, It is the muteness of d-

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cmcnt a ry mater-ials I... fon:l thev a ch ieve III(' stutus of nil ins n-umcnt a lizcd nhjt'('1(!'II('h as r- lu v Fnr th e pru du rtiu n of hricks VI' plastic-ine, 1 11 1'j uvr-n i l r - and Iri\ il1ll11al,' -r-ial for c-I('ml'nIHl'Y scu lptru : ..I exercises 01' il is th e silpnc 4' or di,;('ani('d an d ciisrlll1l'-rioria lizr-r] materials Slid, as ruhlu-r iires ) afu-r a re turn 10 thr- mnrgins. A" '11I'h th e;;.il'IHT of these ohjt-rts as much as Lilt' al avi ,tic' t1,'finiliol\ of rhr-ir parli('ipaIOl'~' di-mr-nsion l'il'CIII1111a\ igalt' the question of how sr-ulpiu rul objc(t" at t his poinl ('011le ienable or pnacl pu hli speech WHI'T Ihe l'iJ'('UIIISI.3I1CN; or its immcdiatr- alll'o~atinnfOI' and dr-strur-t i Il wit lrin a . yuihuli svste ru th ut h as d"stroY"d rh r- di mr-usi on ofpuhlir ('''III'''ienc .It is ]H'al'tir'ally impossihle not lo rlrinl of .Jo,;{ (;lInddllp" Posuda ill IIII' t1i"('oyel'Y of( . , , 1 > ( & / 1 0 (Horse (1992 . Orozco's stl'al1gel)' stutumy pllOtognlph of a donal illl'l~e ofa malnourished horse.Per-hap: Posada. the fil'sl \1exican modetuist , was also till' First Irllly all,,!!;(H'ir'alartist in his ('on i tent ,'ffmt 10 mak r- all 1J0Jjc'~ truuspru-r-nt und rorlur-c t lu-m lit'''l'ililyto rhr- ~l1ppolt t ructur-- of the skr-k-tun. _\lkgOlirnl pllhaps also in hi. .. .IC\'I lIin~ ofnil C'lnssc', ' along t he axis of death : lu-re nHlic . . 1 hopl,lt>;sn'~~". t hc 111'~ali\,j ' mod,1 ofrcvnlnrionn rv thought, pl'i\,ile::;es thc: pruletariut only in a I'c'tdi~ti(' r-vn l uu tiort of itsu ctu ul h isto rir- ul condition of having lIollriug- 10 11I~t>, n l i k r - in utopinn vis inn whr-rr-thr- prol. uu-iut funcuourd as the a;!"1I1I)f revolut iunru-y tr-ansforrnation , ill thr- polili-c~nlmoments of a radicul denial of utupiau thought. in IIII' fill'"~o f Fn~('i,,1 oPPI ..'SiOIlas Po. ada ('0I1fronll'd it in lite massurres iutitiuu-d by Gl'lwral Hucrm , t1w image ofrh o pr-oplr- IlPf'ollle Ilrat of 311 avalltganle of IlIlal unnihilat ion.Y r- t h r- rc ill Orozco' plloto~nlJ)b of till' horse. \\ ith a ll IIII' n"("'~,;nl'y I'l'fl'nill f"ol11 till'nfrlpnr,' 10 rlas and sCll'ial injusiu- thai t lu ul'' ;IIWLil' of' the silt' IH'( '(1 nhj, .. .t pn'-I'(Til)(', . 1111'ullegorv is; nuturulizcd anrl truush-rrr-d unto IIII' 1('\'11of ihc colol' photo-gruph (if tln- ullegorioal model should he at all ('OI1l'l':i uhh- within pholo~I'aplrs I. Hiltwhr-rr-a: ill Posada the u ni ve raal jJn:SI'IH't' of death i,; politij 'iz,'d ruthr-r ihnn mvrhi-fic!". OI'07.(,O's image of \ hat appeal'S to lIt' the last hurse Oil curth i~brought 10 I I " rx-I'lieitly frrun tIll' realm of a supposedly plivileg:etln ..pt'lil'IH;(, or nature (IIH' non-in-dusn-ializr-rl worlds of IIH' dt>velopillg rount rics]. Y,'L th is lto! ';w ',; death d,'votion isinfhr-tr-d pn'l'i,wly by tlIWi(>who 1":>..111..1 Iroru his \\I,..ld t lic l 'I :""I11]\lioll of till' nuturnlin rh oppl'('slH'd.Orozc'(l'~ work l'Imtinnolisly uln-rs it tenns or iden tifu -u tio u h rtw r-r-n n \V , str-rn F . I I -rupeun and Anu -r-irnn scu lptu r-al dis ursi iL)' alit] its ery 'pej'ific' und inrl('p('IIlI,'ntde iution from thnsr- principk-s. Bill tlw~t.' deviations do 1)01 invin- all ,'n"y ('Ollntl'l'-ident ifir-arion ut all. nothing rould b e lr-ss ucceptah lc Lo h iru th un th r- \'nl'i ('t~ of IIPO-IIIcx;c(l/l.isIIIOS or Illtill;SIIIOS "lIrI'elltly cnu-ring th e \Vt~,;tenl ClIl'o]\"


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(;IIWS y uuulius, Jl)l):!,

lions of e ol0h"i.al destruction ami ..lohul cconomi . doom, those conditions that theudvanr cd forms of capitnlisr production have wreaked on his owu culture in tht! ~:Yf:I'iucrcasing invasion.' of tour-ism and the coutinuou expansion of eonuuodity produc-t.iun and cnfon..J consumption. What is 'authentic' ami guarantees the speeificall y'M.xiran' identity of Ot07.CO'S work is the univer al presence of dchri and icurcit ,thc' ind u trial wustr- through which he pa c ill eurch of sculptural refuse aru] llle.JiaJ..rtirllljllxtapositioll of these conditions \\ . ti l the historic neutrality of the roruau-t i langu age of Art(: Pouera and the scientific optimism of post-minimal 'culptun:,\"\hal is equally spr-r-ifir i. the dq,;ree with whi h 0"0701:0 mauocu res his way throughrho fallacies (and oppm-nmiries) of L 'ing 'oih red' \ ithout ever prouuuncing eith '1' atotal disavowal of the specifie cultures from which he emerges nor a de 'lal1latol'), ern-llrarr of its legill'il's which would incvitabl relegate him to the most alienatcd formof a 'pr-imirivizr-r]' idtnl'ty.Of conrse padl ..I' O,'o7.ro's sculptural objects seems to I'C onate deeply wilh refer-r-nccs to the u nr.icnt cultures of ~Ie ico : th Huhher Ball to the gallic,' .. I' tlte Maya-court , th. rr-d day heart to th ritual and the s. rnbulisui in which Iudiuu aud Hi -panic nrythologir-s were fused. the blacl Pia ticin l3all in it hermetic \ eight i11-r-vitably IH:I]\lil'ing the features of the haunting sculptures of stone skulls we know

47


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mostly [ro m dar'k Idaek-and-whit pho-tographs, and the di t rib u tion scu lptu re~on~lnl~t.l;!d out of iee cream spoons ccr-tainly invokes the hiel'"ati~ ornu merrt at.io nof the elaiJoI'at.e st one cal' ings of tum p!earchitecture.Rut the work consisten+l y clenies tht:st: ref-er'eriues as explicitly a: it seems to suggestthem, continuously n~


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hereutly univcrsul e p. rieur-c. This question rcall r woulr] not lit' 1110"e t han OIlC ofphilo ophical concern: if it wru not fOI' thr- fact that tl u- in'T.'asinl! varietv of highlyspecific aud instrurnentulizcd 1l1"[1f"tiC"l~;;f artistic art ir-ulut ion aln>ady indicate thepolirieal rurnifir-utioru of that dl'linition, Outside th .. 1r0"i7.0n of a universal CO'II ('1'-lion of the political and a uuivcrsul conr-option of 1111' a,stlwti., a new realm of IHII'li('-ulur idiomatic operurion Cml'l'g(', [somr-thing like a 1II0dl1 of a.-tistie coalition poli-tics), each oue rnurr- spr-cifir . nd r r- t ri r- ti vr - in it. tr-i-ms of opl'!"ation and it." modes ofadd,clS' aud audiencr-s.The eu ruing dr.:!:t of a radical d('-diff(TPntiation of sul'j..,tivl' n:p""ien('e and of rh .disruautling of histor-ical reflection us an integral r-lr-mr-nt of th., ,'ollstituti\'e complex-iL, of both, authors and reader. us truditinnally suhsuun-r] in lH'sthrti. con trucrs ofa purti .ular hi r torh-ul moment , is all'l:udy an ucr-omplishr-d fal'! within most prnct i-eI I f current .ouecru. nrl it is within this dialer-tic between a n inl'rl 'a:inl!;ly instrumen-talized definition of the ae: thctic function as a tool of identily [or-m at irm and the "i-III IIItuneou ' resu-ir-tion of the' ouccpts of subjccuviry 10 t lll ls,' of ;; .'xlIali ty, f!:endc,'und ethui 'ity that critir:ul aesthetic and political qur-s tinns cn... .g.. The fin.t one ad-dresses the .ouuadiurion of an ae lllt'lie rh-finition t hat I'""',,dps tilt' rnnr-mrmir- di-1I1P11:iun Iroiu its projer-ts and til eront! oru- udd,'I', SI'S t hr- cont rruliction of a ~Ilb-jt'.'l defiuition that rustrir-u it If from its initiating moment to thc' IOl!;i.of r:u lrure asirlern it Ioruration , politir-al "'IH'C cutution and (,IlIPOWf""IIl!'r't. An r-mpowerment atthat which is eutircly define I with l'egard to the exi: linl! inst itrrtion of a heuemonicr-ultu re and defines itself paradoxically in the conu-statinn of its .' .. rums in OI'dl'" I;;ain the in titutional aC!l'epta nee of that hr-gcmonic cult 111'1', \'h It'st of ali t hr- "IIfTl'lltdt'(iniLiUII' of .ulturul production a a substitute for actual politind c'mpow""mentand rep re ieutatiou fail to "I'I'cwllize precisely thr- parndox of thr- clc'l'oli ti"izing r-ff. . ctof' lire politicization of eontempornry culture us much fill IIll' disrnuntlinj; of suhjecriv-it)' inhereut III the strategies of ulturul n'pn'sl'ntlltioll, :ho.-ing lip ('lIltund nwmol')'in t lu- way that the conservutive reaction suzuosts cannot he' hut a p"ofoundly ,'1',11'-tionury uud hopeless mechanism of defending pl'ivilcgl';\ ill, ilahl) alway~ alre'allylost , But to accept a concept of subject Iorruution that cxclu 1(" II\(' difT... .cntiation ofhisturu-ul e perieuce from its rudieal dcmauds fOJ' polirical and I'll It urul ''I'I'''' ';;l'l1ta-tion ill the pre sent institutiunul sy tern (iJ wu limit Oil" dis('lI~sion to tlu- questions ofcuh u r a l rep reseuration in c:xisting ill itit.utio ns a nd di: e'ClII",,"S IlC'tnly.~ "Illf ,'~in~identities all the JUOl'e : onc:I' again it cheats them out of t hr-ir: hi,to"ilal l'ights W'1I111 h a' uut of their uudurstund ing of the lc:gueip: of OPP'" ssinn and d"stl'lll 't ion[rom which til l')' original ly CHu'l'gt:d und to which they rr-mnin indr-h tr-d ,


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'\li;.:u,'1 C," ,,, -r-,,I.i,,,, 'M"d...." ,\1"1', ill : 20 (;""11"'i,,, ,,/iIlr!xit :un JI'I, The Mu "lIlII of 1\ludel'l1 1'1," , , 1 1 ' Y"rk. II)10. 1" 11:, {u-anslurion modified]..) Fill' f"xnll1pl(~ t hr - trnllt'lnfhl' ~l'nt"'(HIl'\ly tl4lr1~til(: wonl 'Eu rruu-u n' to llH ~'Hfl4'cpl o f ' fu ii t" d lfadi

lilll1~ ' wlu-n ill r a e " il i~ fai,.ly t" ich-nt ill till' ~palli~h ol'it!,illai tha t tilt' ' raihd tnHliliull!'l' an' Ih. r-ul-IlIntlll"adiliull~ IIr llu~IIHIII't!f"ui:-- l'la:-/OI, III t hi- .:01,'11:0" if i...lUI,Io\'UI,hy 10 1""('II!'llizf' Ihat I lw ('Jl1hnl~t'1 ) 1 ' ,1t_,\.i.'all :11'1u t Iili~ mouu-ut \HUlld IUI\'I' al:"!.. fullu' \t 'd H IHlIl-AmtotjeHU. auti-Lurupea n impulse."I",,, E"!",,I''' ""1'1''''''11[('.1 t he Fa.d'l and the itulinist threat from which the C"lltra]. uncl Lu t in'\on~l'irilll satr-llitc stutcs II ad to be I rotcctvd in the irlcologieul ~('~Il""l' t ) r till' ."' '' ' ....r -nt i r- I"''''A mr-rir-an r-m l u - n e - r - .

\\'t, dn utll k now Ihe hi;..I(I'o, uf ,hi, .~\lii)'ilioll (and Ihi~ j.. 11111Ih. pl::tf'f' 10 ''''Xi111IJlC" it, 1.111 a ny r-xhi-l,iti\_,tI til


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A f v a H l i g h e i d ) e n t o e v l u c h tBenjamin H.D. lluchloh


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"Aldus h.-ef] de k unst uil \1exico. nu 1'1'11 st rijd tl'gl'Jl lit- ballliell die haar ill de ~"('('Phidlleu "'III Ialende IIadilits. tTII tu rhuh-ntr- maturitr it bercikt , De bevrijding "allill' 31t:xit:aan,e kun 'I IUUI'I gt'lwt'l t 'vt'lIwij .l ig; nu-L dt' slwiall: 1"11 I'uliti r- k hcvrijding\all de natic zelf'. ell, indiel1 III:'t a anded vall .I.. kuuste nu a rx in dt'zt' stl'ijll IIiI'I zo vu-I'i~wa,; i!CWi."t: 'I, dan had de \fexil'aallJ:ie k u ns t rnissl'hi"ll z .. lfs nooit luuu- I.lIitligt vi-tul iu-it I'U nicuwe visie vertooud." I

H e t hddhafli~e uuune nt wau ro v"1- til" SIhil.l ..., C:ovalTllhias 111'111I',ft in ZIJII inh-i-ding van tie ('alaloglls uve r III" I"t' l"~lp (,'n 101 1I0g LOI'Pllige) O'TIzi..JllstllIloollstd-lin~ van _''lexicaall~e k uust ill hel M\lSelllll van 'lodel'l't' Kunst in 11)40. ,wl.ijlll illill' Ulee:.le algernene 1!e"l .'hied,,"iss ..n van tI.. 20 .. 1"""\\1S . kurist Ie ollth ... k .. n , Eell 1110-nu-ut waarop het in "!exi,'o I.wl al" ko.t lIaal-vool' ill 'Vt'imar' DllitslaIHI"1I ill tit' '!lV-jvt-Uuie] mouelijk hl . ... k rlut 1'1' 'Tn arti ..vr- "11 ,'oll'I'I':XI' illlt:la.:til Z'>l1 ln-st aan tusscnkunst pra k lj ken .. II I'0li IiI"hi' OIllWIlIltlillgt:Jl, tlat niru WI' vormcn vall a rt isf ie ke di,-uibutie ell !!e1ijklijdig .. ,'oll'Tlil'Vl' .T('I'J.til (1IIIll1"sl'hiltll'I'iugt'1I r-n gt'dnlkle vlug-sehriftcu) de [arulel ijk .. "11 "1"II .. lijk,, lIIas,.,a's zou.I,:l1 h,:tn:kk"11 in ('11 aa nzcttcn 101vcu ouafzebroke I"'o,'''s vall I'oliti,kf: info rmutir-, lu-wustz ijusvorming en grocicndczelll)l'''c h ik k ill~,De 1('IOOI'~an;. ; van ,lit l.istm'is. .J. 11101111'111. of lil'v,:l' de vcrwcrping "an dit communi-catie model ,'oor' "stlll'lis"hl' I'I'Odllkli,~ r-u rer"plil' rn de daaropvolgcnde vervangingL'l'VaU door' dt' e~ol",'i"I'h, 1II0d"IIr-" vall d., mnrh.r-ni tr-i t . hr-cft a lle cuhmclc contexten",HI de ~eo('hi .. d,,"is nu ~.O, II ('V"11 luftig heurvlo, d en gal' hct ontstaan aan een ei-C!enzillni~e ht'gel11llllip vall 1"'11 i-st l u- t i r- k van grwillig zwijgcnde of opzcuclijk 101 '1'('1'-stemming gelinll'hLI' Objf'l'I"II,I II IIIIC(, was ".- n,,ls 1'1'11aa nzr-t geg'~\I'n lot clf~tcloorgang van deze utopi che bandtussen een plll ili fk, "II ar tist i r-kr- avantgarrlr- in Mcxir-o ill hct tcntoonstell ingsprojectvan het 'l11!;t'II "' vall "T"tIrrne KUlISt zclf (en dit hlijkt ovcrduidelijk nil de vertnlingvan COV


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praktijkcn kunuen leidcu. 01' ;11'1I1'llIrt, ..1lang!; de as van ltd uq,'lllllenl "je hcht cen symboli srh systecrn ~ellrioptl'l,,'d maar 111'1is tlndel'f~e chikt Han dat wu a rmee wij n:gt:nm' ,Zo hpvl'~tih'1 de hegcUlul l i~l ' ' ' e stern niet allecn opnieuw 111:1t: igen r-anou I'll dl C'igl'll"I'vpsti ..de categnriciin. mu a r weerlegt en Iwgeel'l zij tevcns van hij IIi' annvnng \,0111'-tI ig tla t iedere bCwislillg I)W dominuntie vu nzelf pr(' kunr] gl'hnli k 1.011 mn kl' n vn nhr:wtlonlingen die totaal ve rschilleu van die vun het ln-crscnde t:1l1t1l1'('11' model.Het is hie rbij van Iwofdhelal lg dat de h\~gl~m(JlIi che .tundpunten wl'i~I','ell 0111 1'1'11dcfirrit ie van culturcle pl'akti jk te aauvaarden die beuudrukt rlut dr- politir ke invlor-dvan he r naulercu vall tuulvuardighcid 1:1lr-ult.urele. iu .titutionele I'll polirir-kc 1'f')1rI'-sentatie stc cis oJ1Hindig veel belaugrijker is - 7.0\ cl .ulturecl u ls politick - dan de.trenge handhaving V,IIl de zogenaamde kwuliteit uurmun vun her k lussiekr morlrr-nisme uf 0111 hel even welkc andere u'aditie ier 'lake,


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Cruciual hif~I ' is til' ITI,cnning da t deze m ach t: u it oefe n ing uu ra-cult.u reel OTf'hf'II"1(bv l, I IiSSpll f it- VI:I' chille nde fases en mornent e n van l!t, ontwikkr-Ii ne hi nur-n VCI'-!;c:hill!:'llIlp f:l.lhunle gcmecnschappen, d. w .7.. groepen van 'sprekers' die zid, f!;f'tli rTf'-n'lIlif'f'nl \lPblwJI up ba is vall ~eschiedeni " ~eo~rafje, kla e en ge lacht , en nogI1leel' op !tasi~ va n bchocltcn en investei-ingen in die t aalvaardigheid} en dit met de-zdfde dwin"f'ntll' \,fllIl'sdll'if'lel1 en uitslui+inzcn aanaczi IIdczc ruacht haar wcttcn innng; hOgplT mutt- iIlJio-clI.llllreel oplegt (d.w.z , in haar pogingen 0111 va I I' Icggenwflkf I1fU'IIlf'1I ('11 paradigma's van culrurele PI' duktie toela atbaar zijn binnen eenIlf'paaldf' gf'sl'hiedcni ). Dit i bijvoorbeeld ove rduidelijk in de eindeloze debatren0\1'1' dl' hii:!'3I'hi('(-n van childerkunst vel' u docurnentaire fotografie , van nbstrnr-tie V!:'I'SUS fig:III'atic', de ogeuschijnlij k auronome en zogenaamde 'poeti che' praktij-ken Vf' I'SIIS df' sfhij IIha ar gei'n" I rumcnt a li: eerde , d , \\',7.. acri vi t ische en productivis-tisdw nuulr-Hrn \ an culturcle commu nicat ie I'll interventie ,TIil1l1f'n tl I'ZI' dr-ha t t e n (e ige nlij k gaal he rI1wt'slal filii in srilte lIit~('vlH:'I'r1e I'n ve rrle rOIlIWSp,'ukf'lI oordcle n) valt 111:'1nooit moei-lijk tlf' laulologic' van zelf-beveatigiug en be-. '1f' lItl ig:i ll" \ all hcgem nische ('ol1l'epll'n T'\IS-ti~ dOfII II' zvt tr-n (b.v. "", wa t me n on k 7.011k uuru-u zf'g:g('n OV(,I' John TTf'HItfidd. l\,f.,l is-Sf'lrlij It Matisse"). Hor- dil' ~pl'l'irif'k(' r'I,tllIl'-tif' van tlf' r-st hct i che naar de tUlItOIOl,riSI:h ..ddillilil' 1'1' len allen t ijde e- n on vr- r -rn ij d r- li jkill "laag! 0111 zich a a n dr m arh t If' koppl'll'nva l t m or-i l ij c r t e n n a l vsr-r-e n . or, om!!:I'-kr-e rd mi "chien, hOI' Ill' m.uht f'f' \'ool'ldll-ITntl die art isrieke pra k t ijkr-n wr-rt nit 1(' hu-11'11dic' "cell cnkel 11t'lwi~lh"ur f,lc'nwnt nW('I'sr-hij ne n II' bc vatt e n . hilI' zij C'I' dul wr-r kWfTt uit t c halcn dar np nieuw vr-rsrhij nt intic' ~I'daallle "an es tIwti;",hf' i\P)f~f'nOC'~i\


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llojas durmiendo, 1990

Lif"kt: instrunH-!ntali.'CI;ng van kiln tpraktijkeu in .It: cerrt ru. Dp gallghan .. t:llltllndea piraries amlrie ren CCIl hcrniClIwde e thetischc ondoorbJ"lllltlt:lijklu:id ell et~n"olltLEr wordt verOntltT~I:dd dat deze geboden wordt door .It: ll li.u.Iel uJlgdt~idt, of .It' niet-we terse ku nstenau rs (etm opvatting die vanaf het prille bt:gill illlwn:llt was a a n allewest isc ennst r urties van Pr-imitivisme). Hoc kau t:t:1l k unxteuu ar ul1L.-nappPII uundcze lH'oj(,t :t ies rlie hel proce van 'Alteri ering' ('Ollll:rillg') ulI.Iel-hollwell, voo rul ill-dien zoal morucrrteel gehmlrl die constructie van de uult u reel AJlllt~n: I'tm U JI 1 1 1 : 1jui te ogcnhlik komcrule institlltionele n-ategie is, die even sud I.Ut 1 1 1 : 1 au miuuht s-veld van de kunstwcrcld zal vurrlwij nun , als ze er zekomcu is ill ccu lijll all eCIlJlO-rni sche rece sie?Tn en ig nzinnise fenorJI('nologit: van het po t-kolouialc ihject sdll:lsl III:t werk vowGabriel Orozco dezc iJlgewikkt,ld,: ve.-llOlIdin:;en tus en de projccties vall dt: 11I:;,\t:1II0-nis .he wer Id en de wcizcriue Om umle rwor-pen Ie worden aau dezc vct',,'aehLiug't:udie hij steed beantwoord mel ccn n a uwk eu r iue analyse van hel rncchauismc "au 'Al-teri rering' zelf, Daar waar Orozeo': . .ulptuurobje len 011 nog intcnscr lijkeu tc Vf:I'-lokken tot pr-imitivistische pl'oje(:til~;; en a .pi rat ie , reagcl'clI zc onmiddellijk dourons te hcrinnercn aan de v,wnielin!; die de westerse wcrcld , histori eh gf:zien, hccltaangt~ril'ht ill die culturen wanrvan diezelfde wereld 'teeds opnicu- csthctischc be-56


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vrij d ing vr-r wa rh t Dc 1'l'l1lpIIII'('11 vall (Jrozr-o komr-n tot uitrh-u k k ing hjn nun til'nu-r-st l'ollll'll'xl' dr-nkwijzcs "11 hiruu-n dl' idiomrn vall lut '\ c touropce: en mcri-k a a ns mmlr-r-n ismr-. Zijn nad ru k of> method" I'll {!;elJUar I'll de morfolouie va n zijn~("1I1pl l ln 'n lijkr-n dr- svnt hesc Y!1I l in rlu su -i cl r- m nro r- in k- u en gebarentual di( ' hcpalcndzijn i!("\\,ITsl \,MIl' rlf' ,11"/( ' Poi-era en ell' post-minimall' sr-ulptunr vall ric lurr- juren' f lO, II' Iw rh u ).-I'I, Tor-h rr-agr-r- rt e lk wcrk van 01'07.('0 o gr- nh lik k clijk or pogingcn 01111... 1 1'lIk(,1 < ) 1 ' II' nr-mr-n \'IIIIl1il I'I'Il Enl'opl'l's of Arnr-riknun persper-ricf (".1(' hebr be-kwa a mhr-irl YI'I'",orV(,II, maar jl' komt tl' lnat" door cxplir-ict uirinu tr- 'I'v('n, zowc]0 1 0 1 1 1 ( 1 0 - - h isto r isr-h c I'll ~I'o-polit i{ 'k ( ' onufhunkr lij k h eid van he r wcrk in h r-t kadr-r vu n(ho)';l'o';; r -n l t u rclr- ~( 'srh ipd( 'nis. u ls aun her spr-cifickc unrk-rszijn crvan in hr-t 1 u dr rva n Iwt \\1('~I('r;;I' modr-r-nismc.Onm'o lijkt hr-cl I!ot'ci II' hr-hlu-n in1!ezi ( '11 dut 0117." hoop Oil pen In '. !e nmnwll st " J1 i ngv a IIr-r-u a fznndr-rlij kr- 'sculpruru 1( " ( 'u te {;f ll 'i (' n icts a nrh-rs zu u zi j 11 II an ( 'en l'l '''cl ri-r-h-1 ( ' aa nsprank op C('11 IWVOOI'I'P("ht(, I"'vuring, vor-m die in dit studium nauw verwevcnzoo zijn IIII'I om IWI ('\"('11 we'lke' truditinnclc urtistickr- ('atpgori, ' (Ii(: haar onoui 'tOle-li.i"" ,:!dcli~hl'id stnandc hourlr , at "an '~'dun nog l,';1'duull worrlen opdut til' crvu-"ill,:!SYOI'III(,1ldi p inhr-rr-nr zijn uu n d.,7,,' ,'at,~"ori,'i;n I'D Ill' toe u-houwcrs die hcwcrenoint 7.(' I,)('~anl!; hcbbcn tot d(,7.I: ('utc'gori(~i;1l nil'! onlu-rruepclijl in de csthcti che Icti j7.01l(1.'n tr-rcchtkomcn? En tooh houdt sculptuur iu dit opzicht , UlCCI' dan icdcre an-d"I'I~ 1'01'111Hill l '~th"li;iI'l1(' r-omrnuui-utic. de bclofte in va n CCIl lichamelijke ervmingva n dr - 'ondoorjn-omh-l i jkhcid VUIl 01 ( 'hetckcnuur- ' , u ls lu -t ware cell boll crk regen defina litr it vall "('I'n"t"'"1wntaJi~('I'l"de hceldtuul. l('''t'fl tic ordc va n com mu nicn tieve ac-Ii,' .Typisr-]: 1"1\1)1' d it v e ri al lg ;e 'l l orn Lot ... '11 olJ,loorl!roudclijke ouhet-leidbnre ell ondeel-han' ~toffC' l i jk( ' "I'val"i'J~ nu -t n rtistickc middel n te komen j de ro e lucht tot de 'ill-d r -x i r- a I I" wr-rkmr-t hodc. ( 'C 'rJ huudcl iug wuurin hct : toffelijke '-POOI' gelJ('el niet-trn ns-cr-nrlcnr is. ('(~n zui vcr ~tliffdj.ikc ourzukelijkhcid. Dc vcrouder telde ban I met h thandelr-nd lichuum lijkt d(' wr-crstand vau dat licharun tegcn de metafysica te wnar-hOI'1!(,11(7.0\\"1,1 d(, mr-tul'ysir-a vall de (10)" pt'ong uls die I an de interprctatie}. Orozco':.'\lis 1II{/111)~ SOil mi coru zon (Mijl/ hU/I,dcII zi] mijn hart) (1990) lijl t rech treek: intr- ~aan op oIit I,'rlang('n nau r ccu gcn:coutrucc!'de Iictie van culj iurnle eenvoud.1)001' z ijn hUI101('1I uf tl' d ru l ken ill ('('II klorup b ak klci produceerrle O rozco een"1'(,(,111(11, h 'hl'id,' IU,-;SI'I1 dl' zuivcr 'iudcxirulc' sculptuurructhode vall de late jaren'6 0 ( zo nls d c' u f'd ru k l r-n Ian lichuurusdrh-u ill h e! werk van Bruce Nauman) en des pr -r -i fi . . k r- L u ti jn sc ,'11 Hispunische icouogrnfie va n het hart. D e sch ij nbu re eenvOlldV[l11 111'1 g:ChUH1' ,'II tI " galJ~l)aarheid van het al'cha'i che indusrriele muteriuul lijken110(' h t u11;;j 1Iist uit I,! iuoudeu in een 011unythologi eri Igspl'oce,_ a n de f'etisj iser ing :VUI1 h c t ; wu ll 't ul "a l( ' object even goed al van het emotioneel gdadcn lweld van hetharr , t"11 "IIIlHI. Ian t:C[JSCnW('IT uudruk up hct project vall zelfdefinitie in het pro-r lu kr ir -p rn r- cs , O l 'o :t .I" O 'S r ua tc ri ul i uische nadrul op de baud tu sen de p roduk tie vani rh -n titr-it en do' Iysisvh c ell materiele t...llI. Iormatie 1001' produktiev urhe id l"C lt'pt("'n I 'I"wg ('II hctrckkclijk onbekend vool'beeld "00" de hee t un e,~n del'"plijke rue-thode vuu 'iudexicale' inscriptie die de urrhiu-ct ntonio Galldi g:pllI'uikLI~ 1'001' d,: in -It, r i,'UI'';Ot'IlUIII\'lItCll in de appa rtemeruen va n I a P ed r e ira in Ha rce lunu . GaudiIT(II:'~1, - arnhachtslicdcu ou t hij het vervuurdigen va n de deurpo ten l rinnen het ge-

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houw {'en afrh-uk I., mak ..n van hun knokkels, a rrne n I'll 1 ' 1 It 'l Io p :( , 1 l i ll c i t " nog nattepk-istcrkalk. Hicrrlonr schijnr hij te hebbcn ingf'zi"11 .lUI .I... ~pl)lt'1l vall collectievejln)(llIkt ie de enigc n hllit l~nl!;mvllon ~('loofwaal'(lig.' OIln'p"' ' ' '!! \ '.111 her OI'l1a111el1t ind( ' l'ig(,lltijris(' arch ite r-tuu r- knnd .. 11 worricn.Ongr-twijfeld lijkt er-n wmk zunls W i memo es la 1TI1'l1lf1rW r i p / espacio (,l1ijll "(mel isfief geheu(('1t VfllI. r i C ' ruimte] (1991), ondeukbaar 7.011.1.... ..11 z...k ...,... kermis van desculpturu!r t ran: formatir-s .IiI" En~,I;; .. becldhouwcrs a l s Tony r:T'al!:~ tot stand brach-len van het midden rot rlr late jarr-n '-n. Orozco hccft ov .... igl 'ns 7.l'lf to"'~"'~l 'v('n rlatziju on!lI1ol'ling 111(~tde Br'ilsc s .. IIlpllllll- uir die per-indr- lijd.,11S 111'1ja a r dat hij inSpuujc vcrhlecf (19P.() -19R7), ('.'n .... nr-iale invlocd np zijn werlc !!('had heeft , Beeld-houwcrs zouls Cragg rr-agr-r-rdr-n '~V(Il7.I'I~r op de rmn antix rrr-ru l ... p ruk tijke n van eenanutul Brits. ' kunstcnaarr (Hi.~h:1f'(1 Lun~ en Harnish Flllton) als op 111:'1e it dat deltnlianu cline Pouera ell cle Amr-r-ikuunse post-minimah- sr-ulp turu Iwt alll'daa~semu .. a-cultuur object gc~n1Cdcl1haddon.Noch!al1~ pluutst dl' hijzondore st r-urtuu r van dcze srraal. g(:\\ij,; g,'sl'hikll' .ll'l1l('nt(,1ldi e zih uit hr-t nvguticf van de hand onrwik kr-lcn en er-n ronrl sq!llll'nl van Ollg;" 'WOOI1ru inzume ohjce ten (hou tr-n ij.1.'Ju- lt jl'~) \ '0 1'111en , OI'OZl'O';; w ....k nn Iniclcl . ..11ij kill e('llunrlerr- r-nruext vall vrij ""r:-;('hillf 'nde parnmr-rcrs. Aanvu nl r-lijk lijkt h.'1 'stlaJ.ncl.'58


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'''IIk 1'1'11 vagr- I'll lutr ntc v'~I'wi.izinl!; t,~ l)I'valt('n nuu r d" hi(:"'alischc ornruuentcn opdr- minurieus lIitw,hollw('n str-nr-n van de Prc-r-olomhiaanse arr-hiteuturuh seulptuur,rr -rwi jl d r- m au if r- sn a,.;;;(wiati,' van d('z(, houtr-n I( \pd lje .. ch , Iczing r-rvan onvcrmijde-lijk !HIliI' h er h r- rlr- n ('ll d" gl'nOl'1;"Il"; nit de kimlr-rrijr] vcrpluu tst: ('('11 11(~I,'n warn-inr-lkr- t a r- ri r- le . oralr "ll ';:(,0 p i;wl'11"hevr('dioring surnr-run-buld i' zouls rlit gci>curl in flchr-loftr-s van fahr-ls r n sprookjes dit' \'(Tt('ld worden om r iP misrlecldr-n tf' trnostcn , DI'concrr-r-thr-irl "all d('z(' IItopi;;I'lw Iwlofte dj" hovcrulir-n inspcclt op de thcrrni dlc IIy-namir-k vnn rll~'ontf''(t van hct object) lijkt d" st rulirur ..crurgic an (lit ronde segmcntn r I!' w e k kr -n .(ko7.('n'~ : \ J a til I' '' /P::;(I /'(>('11[1(>1'11.1/(/ (Cerecupereorde mil It II r) (1990) Iaa t :ti(:h opnemc(Iin 1'1'11 duhhcl mocilijko srulprurulc truditie: til' pnellluati~;I'he 'C'IIJpIUlIl' co de tori-sr-he sr-nlptuur. Rf'id(' traditil'" hr-hhcn ('Ill VIl()('g('."chjedeJli met zulke ooru-cffelij-kr - uitzonrlcringcn or I l( 'w ( 'l 'i ll~( !n wau r niets rnee r aa n LO C tc o('gen vall dni elkenicuw. pO"ing om no:.\ mn ar N~IIS Cell opgeblazen sferf eh object te prndur-eren ,'n hetaan sr-ulpturuh- 11I~;;('hllll"'iJlgen t.~ ouderwcrpcn , vorbuzinz zou knnnen opwekken ,Yan \'lnrr'c1 Duchurnp's Ilir c i t ' Puri (1917) via Picr-o i\1nnzoni', rtist's Breaih.(/960) tot h ij Hans Huuvkrs ,iir Sculptures [zonder iitci: en. 7962-7 964 ). die Man-znni's pnr-umatischt- obj('.ll'1I loskoppoldcn van hu n maker. hehl en IWI sferisr-he enhr-t pucu mutisr-lunu-t heilllelijk \'el'eende I r uc h te n 7. owe 1 fnrmele ul s strur-turcleanouimitcit verh-eud ann het seu lpturnn l olnme , Terzelfdertijd hehhen 7., ' d.: vrangnaa r d(' perr 'TtI ' sculpturalc 01 '111 (Brancu i's ouderzoek] weggewerkt do, nr onurn-wonden II ' kiczvn 001' bel zuivere srereomeu-i: che object (i n dit gp.val h ..L sferischc)Hi s hrt vanzr-lfsprt-l endc a nt 1 1 '0 0 1'( 1, afgeleid ui t her hi torisch perspectief un de 1'(:-adymudc: :tlll"'!'t' pnC'ulllalie ell zuive re stereorneu-ie \'('rdl'ingl n dp - I'PO'ldhouwI:r( 'I:m r-n vour altijd of 7 .0 h leek he t u lthuus).\faar Orozl'o's Huhhcren Bal bevat noch air de Paris. noch d.~kunstcnuu rs adem.l I ij WOI'(It opg(:pollipt in het benziuestation , want h et o rn hu lse l is dp- h i nnenhund van('1:11 vrur-htwauenwicl. De hinnenband werd laterual opengesnerlen en opengev{)uwt!1ltot 1'1'11 Ion~d('. opeJl eilinder dnai-na hoven- en ondernan opgelupt mel tWI~': r uhbe-run dO!'I'I'I1 en opnieuw g('vlIit-uni.I;',nl, wua rrlonr dp oorsprnnkelijkc structuur endl' inu-r-ru- dvuamiek (n:'Stlllel'~nd uit de wijze \ uarop he t rubber uunvankelijk , asg.~\ 'ol' llId) olLl!:!pkel 'l 'd w('nlen in een vertikale positie.De ht'to\'('rinl> vall NOlllraieZ(l recuperodo komt voort uit rleze inversie: .1001' heruitspch-n 'an de interne panning van het omgekeel'Cle object erk rijgt dp. o(l~I~zwol-" ' 1 1 ruhhcrcn hol een onve rwur-hte n",~ani. dw intensiteit , Zeals ccn orgaau uit hetvr-rlcrlcu of cen vruclu uit .It: ")tkom~t ln-r-innert dir specltje van I!CIl reus 011' steedsaun ziju hcrkouist met nunu- tiP indllsuij.;(., uf ulhcrg .n in de huiteuwijkcn an elkeindust riclc met rcpool . Het k~)ppdt d,, lodofte u n zuivcre lichamelijkc vcrrukkiug(r1il~ van ovcrvlocd of die van . IJcI) aan het beeld van een dreigenrl ecologisr.hc vcr-,~Iikkillg en ondcrgung.

Pagina's '=;8- '=;9: Turisui Mniru'o, 199159


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Ecu ~dijk au rtLi:; Ieuoruccn dod zich 001" in Oruzr-o's vrecmdr- instullutic gl'tit('kl T'I-rista Maillcu Gel.:ke Toerist} (J991 . Aud .rmuul W'I'(I elf' typi>;(:h .. (lrnj ..rtir- wu ar-mcc \ ij tiP beeldeu van cxotische murkten in rut-ale economir-on 1"'7.i.. l r - n (ho"vl'elpost(:rs VUIImarkten mct 0 err-ijp fruit hehhen ons verlunar-n naar nutuurlijkr- ovr-r-vloed rriet geadvert crd in tie fUllta ruugoricl!n van primitir-ve ( '( 'onorni:('he rdatil's).hicr Ietter-lijk omgedraaid 0111 het beeld op It! rot') lPn van alleg(lIi!.wh .. st-huurshr-id envau wcrkelijk bestaandc rural urmoede.Hel OOItohjej;len die enkel iu ~I'olt{ hoeveelhcdcn nuur oris toekomon (lund- en tuin-bouv pr-udllkten op marl leu) uls ~ellalllndiscenl(' sr-rie-objer-tcn van inrlustrit'l t1l!ri-eultuur. ver chijneu onverwur-ht en zorg uldig g ...soleerd ill On)zj'o'~ Iwhunof'lingvan hl:t object (hij legt op til' tufels vau een Bruxiliuan e mark t nu sluitingstijd tel-kens {-(-n sinuasappel ).Orozco's IIU:11t recente culptuur Piedr(/. que cede (ZlVichtcndc Steen} (1992) lijkt rJeprincipcs van 'aturoleza recuperrulu om I' kcren. Et't'd('I' dan uit n- g;aan van in-du lI'it cl rvsrmuteriaal dcfiuicert dil werk zichzr-lf door middcl vu n I'NI wr-liswuuroudcrgr-sr-hikt stucliematcriaal pia Liciue). dat t;dW llikt \ 0 ,. . n-am op. Daur mor-t ditobject d 0 ersjholten ell stofdceltjes uprterueu , al het tlH:vullige afval '11 stof dut aunde opp rvlakte vust kan blijven klcvun 1:'11UIII het even wulkr- st ruut uren l'lI u-xturcnr li zich willr-n afd ru k ken op de huid ill c l I : ' toevalligc sumunhung die door lu-I rullcnont tant."

D., hond rdr-n anoriieme , clandcs tie ne ind rukkeu van vin;!e,'s \ aa r toesehouwrrszic:h heimelijk 101' tu:lrhen laten vcrlcnlen en de oppervlak t en ,;toff lijkheid van cll'plusticinen hal O'Ldunmde een receute tcntonnstelling, gevcn wuursr-hijnlij k eel) uccu-rutcrc rlefin iti vall f1j' ar-tue le Olll lalltlj~lredell en mogclijkhr-dr-n van de publickcsr-ulptuur dan de liumlerclen verlichte rvclumepauck-n , diu prujeet ies en one-lineruitspruken dic dl ruv ne zijn gepa ccrrl in de geve 'lig.ll: kanal ...n van a priori's r-n0p,ml,alt kun lin Icl lillg(,rJ. Ol 'OZCO' atavistische object dut terugvult op een prirnuirconcept van loutcr tasth aur heid al 'gnH:psgt'lJelll'ell' Llijkt onmondigheid Ie \' irkh--zen ho ('n de mythe an opunhure redevocriug. Maar dcze uilzwijgendheid zuu in ('IIanuit 7.irhzclf zccr verw ...rpelijk zijn indian ze nudrukkelijl I'll vuuuit eell reactio-nuirc ovr-rtuiging In minimali ti che wrevel wu re opgcvocrd , zuuls hij IJonuld .J uddhijvonrbeeld , Drozeo's ohjecten echtcr atlt:nren eeu stiltc uit di zidl steeds be\ u ' t isvan haar opgedrongen en v rgallkelijke status; z wordt IHH:h usu-ntutief geeLa.leenl62


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a l s e e n e s r h e t i s c h v u o r r e c h t , u o c h ver-inner-lij kt als f'p.n onnntkuund~ar-c II!' u a n d ,Het io clf' stomhcid van e1elllentain:' matpl-ialt!l1 alvoruns ze de t atu van I;e"in t ru-mentuliser-r-d object verwerven zeals k lei VOOI' het el-vaanligl:n an hakstcncn , ofplustn-iue , het kindcrlijke eo triviale materiaul VOOl' elernentuire . .ulptuuroefeni n-gell), or 111 '1 .is cll: stiltc vau gcncgccr le en Iuuctie loo geworden muter'iu len (zoals 1"111.-bereu uutoburuluu) L1accn tcrugkccr naar de marne. Zodocndc omzeilen de tilte vandeze VIHlI-WI:I-IH:J1n tic atavi Ii chc definitie van huu participatorf che climen sie deolgp.J1c1p vruag: hue kuuueu culptuurobjecten in dit radium openbure I- devoerinulIIogelijk makvn of va tleggen gezien deze onmiddellijk afgesch a rt en verniehl wonlthinnp.llill 1:I'n _ymboli rch ysteem dal de dimensie van ope nbu re ervurinu lu~ert VC~I'-Ilietigtl.Mpll kun huast uiet auders dan den ken aa n Jose Gu a dalupc Posada wanru-e r IIIc:nOn'zl 'II'S rc-cnulc t atuaire folo van he! I'llgaanziehl v .. n er-n oruler- cwcl J1aanl IH'I, Pl'k Caballo (L'aard} (1992 , VOOI' hel CPI'sl au nschuuwt. Missehi('f1 wa Posada - dceerste Mcxicuau c modernist - rneteen ook de eel' .te wu arlijk allc~gol'i, chc kun I naarill zijn ouullatcude pogingeu om 'lUI' lichamen t r .. n:panlnt te rnukr-n .n zc' lcttcrlijkle l-pclw:I'n'n rot de draagetructuur van he! -kelpt. AII~"OI-isc:h misschicn ook ill zijngelijksdlakeling van alle klas en lungs de ali van clp elooel : radikalc hopcloos heid -lu-t Ill't!aticvc 1II0dei van het rp.voilltionail'p elpnkc'n - Ircvoor rcch I hct prol lariaalhu-r nkcl ill de realistisch- p\'aillatip van hun f('itdijke historischc toc land waarinzc~u ik s tl: vurlicz en hebben , Tn tegen -I lline 101 elp uloJlisl'h( i. i c - waarin h I prol -tu riua t hct instrument va n I"evollllionain' tl'allsfol'maLic was - wordt hct b Id van[u-t voll ill de polu ieke rnornerru-n van PC~IIr'aclikalc: ontkr-nning an hct utopi hedc:nkc'u n ten oversman van cll' fa:c'islisdw oruh-rrlr-ukkiuz zeals Po, ada di me-uiaaktc tijden de J,lopelhaclc'n aangc'l-idlt door gencraal Btl rta - 'ell b ld van e na antgarde van totale vt!l-nipliging" l'icwhtalls , nnll de allcsovi in rozco' folo vanlu.t paard , met al de nodi"p 1t>I-ughmllll'nlllll'id ill cll' verwijziug uaar kla c n 0 ialeollgcrechti"heid die de esthptic'a van hc:1 lol ;1;\ ij"t:1I acbrachrc object VOOI'S hi-ijft , 0' -naturaliscerd en ovel'g;ehral'ht 01' Iwt nu-rl iuru van cle kleurcufoto (al h l all zori-sch model al in fOlo's kan wnrrh-n vcrva t l. 'Iaal' waar de univcrsclc aanw zigh idvan de dood bij Posudu vC'I,lppr gPJlolitisc'f'nl ('II ni I zcm nholozisccrd wordt, wordtO ..ozco's b eld van Wilt wel c'c~ns lu-t luatste paa rd op aardc zou kunncn zijn, uit-drukkcl i jk 101 ons gebnll'ht vu rruit ppn wr-rr-l r] waar men crmocdclijk noz c n b -voorrcchtc rvar-ing van de nuf uu r kent ((II' un"c'incIIISlriali. er-rrlc \ creld van d out-wikkeling. landen). "ol'hlan,- wonlt clc' d e otic: 001' dit dod paard PI' i opg len-ddoor hen die van zijn wC'ITld \'C'l'W3('hl(,11 flat de vcrlo ing van h I natuurlijk in deouderdrukte kun gC'voncll'n wnrrlcn .De icrurcn van identific .. tip in Ol'l)zc:o's werk 3al'zclefl ouophoud lijk tn n c n\Vc:"leul'OpC"e en rner-ikuurrse sn.Jplllntlc discurs] iteit cn d z r sp ifi k 11 011-afhaukelijke ilrwijkin


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kunncn opror-pr-n van de pe ifieke histor isr-h voorwaardcu 'all IIt'I 1!-'xil'allll'; 1110-d{Tnif'll1c en hCI IlI'd,'ndaag:e leven in l\Lddt'II.Amt'l'ika, geuit up 1:1'!l lllllnil"'l' wuur-door we I'07,f'0 te rr-rht zuuden kunncn vrrwijze n nnar ell 0lJ .luiteu i ll ITIl 1lt' t' I'hl li .t;enrl en Cllliml'n!l"'lll'on 'eJ t van dr - hllgt'I't:' uutheuticitcit van 11t '11'Xl lli, l 'lie, I lei te-gcndccl i WIIIlI': OnlZl'ol, p ; v eI vall idl'nlilt'it lijkt uauw edHlllc!t:1I II"' ' l .i jl l 1I1t'1 eeualuemccn hf'gl'iJl van de univ I' clc omstuurliuhedeu "au cClllol!' i, 1 ' 1 1 1 ' vl"'l'lIidi~illg ellwr-rcldwijdr- Cf'OIlOl1liSI:lw ondcrgang nr.u , I , .lit' 0111 taudighcden clil' c1c' g:I'avaIlC't't'I'-

.II"' vo rrnen van ka pit al ist isrhe produktie aangl'ri..il t 11I,1,l lPlIin zijn cultuur clnl ll' .It' s teed tocucrueurh- in x a~il'~ vu n het10 I'j me, de gl'lwit'lIdt' produktie 'an' l'I'I,,'uiksccwclt'I't'1I ellde opgelegdc CI nsuruptie . 'Autheutick' I:U ~p''l'i(,i,'k VIIOI' de'Me-xicnan c' idc nt i t - - i t an Orozco" w r-rk , i~ c1I' IIl1i"I"I'~t'leaallwp7.ip;heid vau Jluin e - n sc h aa rshc id , bel inrl u st r ii-lehl'aakland dal hij dOI,,'knli~L op zoek naar sculpturaal aI', u l .e n dc' d ia le c t i che jux tu posi t ie v au d 'It: IIlIbtalldi~ht'.It'1Inuast de hi 10"i che mu t ral il e i t \'CUI de I'UlUaUl i,,,,11t ' l aal vall!If' A,.te Pouera (:11 111'1we tenschappe lijk optilllism,' va n .It'pos t-m inim a le c u lpt u u r . vve nze e r p ccj Iie k i~ dl' mal ..waurin OI'OZCO zieh CI'II 1"'1;' haunt d rheen d (11'0;;1'1'.11'1"'-r'ing-f'n (ell mogclijkln-drn ) "an het 'Altcriscrcu'. 1:11 dit ZOIl-dl'r ouit de ope ifir-kc ndllll'en waa ruit hi'; voortkomt vulk o-men It' 1 ochencn 11111'1. Iwl erfgoecl van dczr- i-ult urr-u 1100;';-.tnl I'nf~ te lovcn \\ at 111'111onvermijdelijk ZUll vrrwijzr-u II u a rdr- mr-r-sr ve rv re IIIck \ o rm .. n van ee n 'f!eprimiti, iSI'I'I'IJt.'idc'ntitf>it,

i tr-ruurd lijkt elk, r ulpt u ruul object van Orozco danie' I., n'-SIIfIC'I'l'n mel verwijz.ingr-n mWI' de antieke culturcu v a n iIl l'xi-co: zo vr-rwij Id Hubbcrr-u Bul 11010'" de speleu a au de Ma~ a-ho ('1'1, ln-t rode hart nil kh-i n a a r de rituelen en het -ruho-lismo wu arin de Indiaan 1 "11 TTi~panis('he mythologiccn WI:I'-den cTcmi1!d ric zwarre Plaslif'im'n nal verk rijgt ill ziju lu-r-ITlI'ti,'f'h t;{'wichl uvc rtnij dr-lijk de ke nm rkcu "an dl' spook-

achtige sculprurcn van, te nr-n ,'I'h ..rlr-ls e li we vonrul k .. nnen "an doukere zwa rt-witrOLO'" en dc' 'distrihurie-scnlpruur' eli!, npp; bouwd is ui t ijsl"peltje doel zckcr dell-k II aan tic hit'rutische ornamenn-n van de minnticuzr- )'c'pldho'I\vwel'ken ill de tern-I' IaI' .h itectuur.Maar het wi-rk ontkcnt f'011. r-qur-nt c1l'z(' verwijzj ngr-n I'n dil Oil liijna even uitdrukke-lijk [II 11'I. zc SlIg


28/34

n orie LuI. l 'ITa, a nd n:ijds n nt k e- nm -n dpzl' uhjl'ctl'n dat doze u-aditir-s vorn- heu ""1'1_dp .... dzuals ze de revt,lalil' van ill' arch ... ehe v rwijzingcn ontkr-nru-n vun ~odl 'a 7.Zl,lfs rua a r worden f;ea.,ti"lIlpInl.

In .Iii stadium dien n we hC:'t al'gunwnt an .II' inlcidins van Oil. 1'" a' opnieuw re be-!;ChOIlWI'" ell rui ~ hi n op 7.ijn min 'I Wdel,Itt>lijk tl' wijzi"pn, '\' ani inrlir-n , I' , tr-ldcnrlut 1,lk moment van d v rwe rvjrur vun taalvaanlighl'id I'n all ( 'I' rl Icirclijkc culuu-olcrr-p rr-scnt a t ic p li t ie k l!C:'zi,'n onl'indig 1'1,1 Iwlanc"'ij IT i,dan til' ondcrwerping aan alt:tnll'tp 'Tit'Tia van k\ alitcit I'lllu-I gehoOl'zamen ann nor'rru-n .Ii i' vustU',,'II'(,d \ ('1'11 '11door 1'\1-l'OITIIII'ischc en patr iar .hale tl-uditil's di(: 11I"~mlloni, I'll ('11,1'-Ipl'Licf It, w crk ~np; n , Ian moe-ten WI' hil'l' nnk ann tocvocsr-ndUl 1'1'11c t het i eh defiuirie , die' III'JII:,'1 Ihlijft 101 dr- hijzon-dl'l'hl,dcn all de p.'oj('('tpn van histOI'i, dlc mar-h riging , ailedl'finilie verrnndt van 11I't I'sthetisdl(' als (,CII bclofte van ceninherent universele ervurine. D( ze raag zou cnkel van filo-sU(I~c11bclang z ijn l!:t'wt'('sL w a r r- hr t nir-t dat dc 10 Hem ndvr-rschcidenheid van ui tr-r-st spr-e ifir-kr- I 'll zcmst rumcntati-s(T ... I( ' prakrij ken van u rf ist i..kr- u i rr h -ukking r cd, voor-uit-w ijz c n n a a r dr - p o litiekr- c r+a k k i ngcn van die dcfi ni icVoorbij de hm-izon van I'('n univ I'. 1'1bcgrip vall her politic-kr- ('II ccn nniversrul III~g,'ip va n het (" Ihcli. r-he duik t 1'('11n icu wc we re lrl Ill' vu n spr-cific l e id iom a t i ell!' o pcr-u tir-s(zoiel a ls een mod,'1 voo r ccn al'li, t ie k c c on li tic -p of itic k]wa arbij elke vr-r ri..hling nog spccifick 1'1'11 I cpcrkr-ndr-r is inzi j n eijren \'(waltl llfll 'i lll ll, adrcsscrings wijze r-n puhlick.Hct daaruit voortvlor-ir-ndr- effect van er-n ra dik alc r le -rlif fu -rcnriatie van eI,' sllltjl'rli(' e crvarmg ell "nil de ontmuntr-lingvan de hi t orisr-hr- 1"n('f'lil' al ccn inrcgraal element VUIl deopbouwendr- ('ompl,,'xilt'il van zow I auteur .. als I"ZI"':, zoulsdeze t ruditiunr-r-l \ o rrle n onrir-rve rr Ier-ld in r-srhr-tischc cnn-st rucrie van ('Ill I)('paald h i, I.ori. ch moment is "I('rI cenvoldongen fl'it in dl' mr-ostr- prakrijkon die ar-tuer-l van helurur zijn , En hr-t is in d zcdial krick tus r-n I'nlT:tijd, ccn 10.111'01 nde g i O n . n-umr-ntal iscc rde definiuc an d c-Ih crisr- h e fu nr-tir- a I. (,(II in t rumr-n I 0 r irlen titeits ormina, rn am i irzijd d gelij k-r ijd ig c 1 )1 '1 '( "'1 ( 'n dc aanpa ,ing vall dr - conr-cptcn vun subje .tivit 'il aan ill an e. lI-aliteit. gt'slu,'ht ('11 et h nir-itr-it , dat kriri, r - h r - esthetis ihe en poliueke vrac II opduik n.1)1.' eerstc Iwtn'fl dc contrndictir- van 1!('11(\ thr-tischc dcfinitie ill de projecten hunmucmotechnischr- dim':lI. io ontzegt en de tweede herreft de coutrudi uie \ UU "'U ub-jc I dcfinitir- r1il~zil:h:t(~lf all in h I b zin hepr-rk t tnt de logica del ' .ul tuur al idenn-tcitsvorrning. poliliekl' re] resenrarie r-n muchtiuinu. II it is ecn iuachtiging an Iutwat tornul i: ,,(,dl'finii'('1'f1 met bctrckkinz tot d (' h e st ua ud e in tcllinz n van "' n hege::-mon isr-hr- uhuur , en dat wat zi('hz('lf. puruduxuul g no fr, definieert in Ie b twi tingvan z ijn l!ig(!fI r-anon: om (k institutionelc uunvaar dine door ill h 0 moni che cul-tuur tr- l)(,wl'l'k~t..llig{'n, H I ergat van til is r-ch tr-r rlu t de uctucle d '.finili' vau culru-

Co lIC /I/o 1992


29/34

rdl~ produktic als ('I:n vprvunt-;"ing VOOI' f citr- lijk .. I'nlitieke macht igiug I'll I'\'JlI'I'sl'lIla-t i . . cr niet in slngen IHTI:il:~ dii' paradox I~ hc'rkl'nnen van het depoliri l:1't'IItII' I,ffl't'!vun d(: pnliti: rl'ing all Ik hld ..ndaag C culrnur, l'vl'nals de ontmanteling van sul.jl,(,-tiviteit die inlu rent is uun J1vun een eu l tUI'I, ..1 ,,(h


30/34

Nott-n:' l i_ l ! 'J ( 1 Co 1I1... uhias. 'Mudt:I'u ..\",' ill: to (:(~u/"ri(J.t\ (~r!l'I~xk(lu Art. Mus'~lIm v au Mf l d . .. rn r KUI1SI,f" York. 1910, blz. 1t15 (~l"'ij:t.i;::.I. v",lalio!!).

2 /.,0 nw~1 d "' '1"1,,1,, ' I" h. gl'Nig he r WOOl ' eI '1::U1'OPCC ' toe nu n bet .oncept vun 'r"!(-l Id,' 1"url iLir:- ',WHIIII... 1 ill 1,,'1 .'pall",,' oriain r-l ~iOT('nlijk hr-r - l duidr-l i jk is dat met di . . ' f"I","Jc Iruti it i, 's '.k (."lIlt lln. '-I~ tr ad il it .. . vnn 41 . ' hOl lrg f"o is : i t' w or th -n I H d~ H ld . In d it up zit" ht i~ l a t " v nllcl.ltII"i\\aanlig . lUI lit' a r-m . ..Il' pU lJu lur i td t \ all tic 1\1t:':\il:aan~~ kunst uuk t:'t'U PaIHln1t',.ika;Hl!'~. ;"l1ti-EIIt'of)(', r- impu l-, 1.011 hr - h-lu-n opgcvolgd , roen ElIl~OlJa~lond H)Ol' ..I f : I ) o o c i ! o O l i . ! o o C ' i u ' "11 _ ! o o . l u l i l li : - . li ! 9 ( I H " IlI',dn'igill~ \ H U I ' ' '' n-n ti cHeiden - en Lmijn -AlIlI"'ikuUIISf: landr-n dir-ndeu II' worden br-schcrmd in de ideologische tenroon-~1'1"(i.lin;: ""' .1(. dr-mor-ratisr-hc Pnnamcrikaunsc houding.

\Vt: kt'tH1l'll tI " n'~whif 'f lf 'ni~ va n d,z, It'ntnulI''!ltolling uid en .Iil ill lIIil'l~w"it"1I "if" e l r ' gesr-hikre p l a n t s :OUI d , ' ' Z e o op Ie ,_;nncu), uurur dkt" 1t',lIuulIstt,lIing . I i t Iwi ll lig f '"' -' IIW("I I van f"f '1 l ht'JUHllc lt- . c . d t l lur Iw -schikhnur wil stellen , Ir"erl huu r i"'I'",'i"li~li,,I,, 1I1I.I,rboll\ , ..." . 1 . vcrrudr-n [het i. bvh. OIlW"",'-sch ijn lijk dur l'llir:: '\rnt'I'ikaans museum ooit zo u u gg cl 'c I' cn 0 11 120 ellwell FrUf1 t:' ."ltUflr tt"llltHIUIt ~.. . I"'"). l isschicn had de drijfveer voor deze tentoonstelliug "t:1 \(",,1, I'g van e l i . . 001' andereI l I" u j t , .. . " v an hrl dcsrijd 1l\'('rwq;cllll door R llc kt -r" II ~, ;;~ l idl 11 1lIS1'1IIII, dnt hij 3 1H I .. I'" g..l ezcnhe -lit''' Ullk JOt'fd!' np"fwcl'~t'ntnl c - o n lClltUUII,sIt.lIiIlHC411 U\t'" Lntijns-Amr-r' ikaanse cultuur h a d ingcruild

v u u r j'ultLradclI w a u r i u t i t " t'X"III:.-ifJ\ nlit\\illnin - rr-r-hrr-n in \ , 'nr--7 .1uIH s,garallclt(nl \\c.~rtl~r1 uu udr- Hoekerfeller's 'I;Hlliard Oil Cnq,nntticlII o r lIIi~~C'hit'll veiusde de tentuuu lelling: tl i i tfHaurl l iu- a I..de bcste !>elt'u;:di ";:, Zll flL, hij rtic mccr ru 'hi bare aanf:clc/!enheid tuen de7.l'lr,l .. Rn..!,pd.I1., auuf)i,,;;o Ri'l'ro opdracht rnf 011. 1 de decorurie vuur I'el R, n- k.rrdl,,'~ A"('hilf:I'IUUI' .omplex i.n ,\ewYo r k II' sr-hildr ... -n en vent,I;;'n llllo!,'f;IJlt",'soolllijk ( J r . ,'I' olur ionairc I olitiek van de Iexi ',HlII'ei.I,.lIlIg:lrdr k u ristr-nu a r- k\\'HIIl n:n1'SlIn'fTIi.

:l ihoshun Fdmal l l : : ' 1 1 ().".j l.aub , l'(~"HjllJ()lJy : l . ' r i . . ' r j ( " t . ~ rlflit,,~. sin I ; /1 Literuturc, I 's -choonn! ' .~;~;;;and llistory; I "W YO"k: Houtlcdnc. 1992. biz, 50.Ef'n~ If" nH'CI' h ce f1 de ijtl~utl,~r-jt'wuurbij ,'''II ( )ppc 'rv letk wordt gcu-an formccrd in cell zuiver pussi ve""~ipii'nl "R I1 1 1 11 1 11 ', I '' '' ,' ull ig '' p iCIII rarlf r-n ind .. icalr- merkcringcn ccn cornple e in grotendcels un-()lIt~ullllell ~~~e:hi.:dt'"i~ ill rlr- 2 0 ( ' " (' (, II\ \, : \ ': . .1 I)urillunp's Elevaue d e I)UII.~;~r(-" viu RUllhC;h('nl.(,I~O'S) \'i l< '" Bluufl li ,,1t ( ,. ,. " """k, "lr ild , ,i j, , , rli ,' Huuschcnh .,~ muakt ca , 1951 lijdf'n0 zijn vcrhlijf inhot Bluck \lII,,,",,in C.. llf'gf' ill ,orlh arolinu lui de I -pisch epigoui li.cI'e); I,a ...-n vnn (., lr-in111"11 hij in 1961 cell schildcrij muuktc. w,u . .. l oij, l ijdell' ; t'CI I r - i t 'Oil PU"ijs nnar Mcc. alle ufdrukkenw O ' . .. . len '\"u


31/34

L i I o f l ' e p r e e n t e d w o r k

SIaJlPntlc hond Zo n.ll. .. II,'nSI""ping dog 'awl halls1 990, Las Pcfiitn ,Mexi,'" 199 I, Cl,anol ll,a, ,'t exico

1.. 17 Ii f1l31H :"lUll Illi 'OI;tZt'HI\lijn handr-n zijn mijn hart1y huuds an' III) 1,,'al'l.

19? I.11','I';I('nll ap,2.t I,ll extensiOn tit 'l I 't 'Ot' jl l

Exu-nsie van ,'('tk,'til'Exlt'llsillrt of n ' " 'dioll1~9:., l,ieYI'I,' whr-cl print. with wa t e,'ew York

1' ,:23 Pelota poru-hudu(;l'knepell halPinc-heel haUIlJ9:L plasti

f.!,29 Ali,,"10 ,>0 iJ rc piuuoA,l,'m "I' pianoBreath on piano199:{, K",I,ijk. IId;;illlll

p.:11 M i ma no e' la iue-mnria d"I""I 'H('il l'\>lijn hn n d i" I",t I"'h(,l ll!{'n "all rtf'ruimte)1)' hH uti is I he lllf'mO") uf '1'''''''1991. wooden icr- 1','C[Im ~p"..ns

p,3'1 Caja n ...I H , I . znpn tosLt-;:t'sdlll,rtdoosE mpty "1 0",, hox199:{. _\ "W Yor-k

68


32/34

I',:{S D. 11"1'110 a t . ..rho"all dnk tOI dnk1"'0111 1 " I ) " r lu ,." . . rl !) 9~ . Ko rr ri jk . B.lgilllll

p,~S Bajo Itt nll'~HO"det .It laf'..1l.1I.1." IIu- tnhle199:~. Kortrijk , Belgium

I'.:~(, 'I'Ot1(l rI., mnrcnrK i ..stoouDial ing torn-1991. ~li ( . . ..1 10:1."1141", , .ook pagt's.'Ini,., Cil): 2:;lIt x :{(klll

p.-lO \ " '11 , ,, 1 . .HITtD . . - . 1(1 ):1, Krn-n-ijk , nr- lgilll11

1'.-l;1 DI"~ll l .do!'innkl_\luu'1')')0, r n h l e , rhu ir a n d " ' - 0 0 1 , 0 1 pu hntr-unk

p.'17 CaIUS) sall tUa"Pcwzrn PH wnte rmelccncnCal~ ,'" watermelon11)1)2.. t'l York superruarkct

p.1S Piedra que enll'Zwieht"nd" 'I.."' 1 ' 1 1 1 ' yi,loIi,,~.lullt1992. pIIlSli.illt ",,,I oI"~1

1 ',5:; C in "o prn hlr- mu sijf pr-olrlerueu

Five problem1992.1 ew York supermarket

p,56 TT ojn rlu rmiendoi lupcude JJIIIIil-rc"'-I".'pi n" h-a "I'S1990. Tlalpan. lexiru

It.5H J\alundt'za recuperadaGt>"""lll 'f"'"p"de natuurRl'O'tll'lul'('d nature1990. ruhlier

I .60 Turista muluco(; -k kc 1o .ri.,Cruz), l.otlliSl1


33/34

Dank zij rlf' str-un '"1111 dl' Vlaums G('nl(' t'n~..Ililp en : .W.r.F,T, kan Kumlsli('hlinga n aal nir-uwr- produktu-s '" Inongr intr-rna-

liunalt' kun .. tr-nanrs hlijvr-n n'ali,TITIL DeRanrl Hll Tlf';;IIlIII' dank t IIt'II lIi"I'"oOI" vanhartr-, alsook Knrnmie-Tr-rru. ort ri jksr-Tr-xrielmnntsr-hnppij, Nutiouuk- Lotr-ri j (II,'I(lcl~ht'~llIn .. KOI 'I I' ij lL Enk ,' ld o () I' ll I. InlI... d(Wt'lkino- WIIS her wr-lslugcn VUII ' . I t -t"llIOOIlSlf'lIing van d(' Ml'xin'HlIs(' kunst UO,a r "ahrif'l Onl7.en lIIog.,lijk,

WI' wonlri Iikc 10 "XP"(!l'S nu I' ~roliludc 10!'"Ih authrus Br-njnmin H,D, Bur-hloh andJ (tln F i . .IH'I'. for thr-i r . l e i i("'. affection an dr-onsistr-nt SlIPPOl't duriug thc development oft his project.FOI' gi"ing us tlu: opportunity 10 realize theexhihirinn and t h r- , 'u l u lo gu l' we al 0'" h tothank sinr-croly Ph ilippI' D ., .Iaegere, Lu

Dcryckc. Jaime Florez, Marian Gnodmun.Moria Curierrcz , Al'l ttc Libecr , ClaudiaIadrnzo. ntherinc Thy lind Paul vanacre. For their long tundinz friendship wr -

thank the mnny individuals hoth in Mpx.ieoand the nited tate :C"iSl inll Ftll ix Homan-din, cjandrn Oroz '0. MUI'in Ot'nz( 'O Hive-ra , ara Chnvcz , Manu I y \1u ricio Hochu ,Arq. I.Rocha DiIlZ, .I:l('i 'Ia ltm-hirleCuillcrmo : a runmar- ina , Laura Hoptruuu amiDaniel ichulmun. Huyder- Hov irosu, ~ ilsonAltcsor. I).', Jo' ;' Kur-i, Just> ,ahdel uri.Ier edes ltur-be. Ahruhum .ruzvilleaus.Gold )' JUlin Curicrr z , Damian (),'!ega,Laureano y Jeronimo Toledo, l\1aUl'il'iufaille, erne DUWS()I1,

Finulmonte, muchisimus g-rucias a ti , GabrielOrozco, p OI ' III rrabajo 'precioso',

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1'lIhli.hrd I.):The KaliNa I Arl F"",,Jaliun. Koruijkill u 'eoc:ijltiun \ " ' i L l , :.I.a Va~a Iudr-pcndionu-Prurnuc'ifjn de artc y r-ultar-n . ~1(''\if'HCil~'and I.,. ..~ Edit ion . ; ; I' IA ' :hamhl ' f ' . C~ f'J lt< 0 Gahriel On,zc'(1 rOI~ Iht rep",stl1hd ,\., r ks B"nj ,, ," iJl 11.0. 11, , , ,1 ,1, ,1. ; l1I ,I . ]e ( ln F;;;Ilt'1" for r h .: , ., "" )"

. Il Ji llW F 'l or o; z a nd < :O l. h. , i ll ' T it ), rf)r thr- .rnn ;I ," n ' r, v . 0 1

H""k .I,,i ,,, " > LUt" 1),..-) .k .. "i.I, Cuhr icl Orozr -M..IHlII;'"1. b) Inee Kctr-lr rsPhoto srI('(li(tn h y .. ..(nnrnlol~. Knl'll'ijl,1',;n.",1 ill H~ll'i",,, IJ)" Lllltll 's 1 \ \ \ \ " ,,,,,,,.,,EoI;l iol1 (,00 ... . 1 " ; .. ,

Gabriel Orozco_Cap 3_Lista de Obra y Agradecimientos

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