Movement, travel and the circulation of people and goods are constant themes in Gabriel’s work.

Gabriel Orozco Empty La DS

Gabriel Orozco at Tate Modern with his work La DS 1993

Courtesy Fonds national d’art contemporain (Cnap), Ministère de la Culture et de la Communication, Paris

Whether it is the vehicle itself, from La DS (above) to the yellow Schwalbe motorcycle…

Gabriel Orozco Elevator

Going up? Gabriel Orozco’s Elevator 1994

Courtesy The Dakis Joannou Collection

…or from Elevator (above) to the rubber tyres of a truck - or the indication of travel as is evidenced in Gabriel’s drawings and collages using bank notes and airline tickets. His work reflects on the vastly increased volume and speed of travel particularly in the past two decades that he has been working. Of course he has also travelled extensively in his life and continues to live in multiple locations using his time in different places to produce new bodies of work that relate to the particularities of the place.

Importantly, though the work is not about his personal life (we never see Gabriel in any photograph that he has taken documenting his movement), his own migration is paralleled by the way in which our lives are indelibly affected by this vast global highway.

Gabriel Orozco is at Tate Modern until 25 April

Comments

deirdre mcardle

Manderlay burnt down.

Chris Weallans

The Gabriel Orozco exhibition is diverse.

With previous exhibitions I have encountered either some invisible watermark of the artist's voice collecting the pieces together or a wiry ribbon of chronology leading me like Theseus through the labyrinth of connected rooms. Here there is no such false luxury and I am forced to observe each item in its own light.

My personal favourite was the Atomist series which looked, or felt, rather like the geometric abstractions of the early 20th century. These were not a throwback or derivative but seemed fresh and separate. It was as if the early abstractionists had something they forgot to say so Orozco said it for them.

Overall, however, I could not get any sense of Orozco's identity as if there was no easy way to tell that all these things had been created by the same person. If I were to be confronted with a new Orozco piece I would have no evidence to determine if this was true.

Much of Orozco's work is small and intimate and seemed to be swallowed up within the oceanic rooms of the gallery leaving a feeling that this was left over flotsam from a greater and complete world that had been destroyed by a major catastrophe. It was hard to tell from these meagre remnants how glorious the once was world might have been.

This left a sense of sparse and empty beauty that I could not glean of any of the remains but was rather suggested by my own desire for form and completeness.

There is a small desire to return, not as if to Manderley but rather, to an incomplete crossword that I let fall beside my deckchair on some vast and summer beach.

Don & Rache...

When we visited on Monday we were delighted to see so many children and young people engaged with the exhibition -From a three year old carambole player complete with her chalk!to engrossed classes making detailed sketches. This added to our enjoyment of the fascinating show. Orozco's varied work contained much to enjoy and much to think about. Tate Modern that day was buzzing and lived up to its deserved reputation.

deirdre mcardle

not about his personal life,oh please,this work is about power and the male sex organ of course.Oh and yeah the 'vast global highway' to hell mostly these days .Sorry babe,you're being all '20th century' !