Tate curator Jessica Morgan and artist Gabriel Orozco at Tate Modern
Tate curator Jessica Morgan and artist Gabriel Orozco in the artist's exhibition at Tate Modern

No matter how long you work on an exhibition there is always an element of surprise. On this occasion I was not expecting to experience the co-existence of Orozco’s humour with a reflection on mortality.

Gabriel Orozco Lintels
Poignant remnants - from the washing machine. An installation view of Gabriel Orozco's Lintels.

Both aspects of his work have equal presence in the exhibition: a room with the billiard table and many of his photographs suggests a mood of frivolity and pleasure in the small moments of life, while the installation of Lintels, literally sheets of lint removed from clothes drying machines in New York and hung like washing along lines across the gallery, is a poignant and evocative reminder of the dust and detritus that is life.

Gabriel Orozco Black Kites
Looking death in the eye. Installation of Gabriel Orozco's skull Black Kites with Obituaries in the background.

The room containing Black Kites perhaps summarises this best: the skull on which Orozco laboriously worked in graphite (literally looking death in the eye) is paired with his recent series ‘Obituaries’ for which he gathered headlines from the New York Times obituaries. Taken out of context, the one-liners that summarise a person’s life often make for hilarious reading, such as: ‘Burlesque Star Famous for her Bubblebaths’ or ‘Philosopher, Author, Friend of Popes’, and ‘Sensational Human Cannonball’. Let me know what you think of the show.



orozco. chequered head was soulful. car and pool table were cool. I kicked the shoebox across the room but no one said anything. I didn't like orozco much, thought it was too easy. there is a similar superficial exhibition at tate st ives by david starling. susan hillier at tate britain is a better way to spend your thinking and feelings on.


My fave = the photos of the yellow moped visiting its "friends". Also liked the streamlined super-thin car and pool table.

Gordon Shaw

A really great exibition. The essence of his work for me is the transience and the ephemeral as it says so much about the nature of us all, maybe some universal metaphors. I was particularly inspired by the range and diversity of engagements in the work and he creates an aesthetic while reaching into deeper things. A sensitivity that can touch us all. Orozca is one of the best artists I've seen for a long time so he and the curators Jessica Morgn and Iria Candela are to be congratulated for presenting us with this show. I'll be back as I didn't have enough time on my last visit.


My son (10) and me both absolutely loved the exhibition, the sense of humour, the ideas like the numbers in the phone book and the way they were presented. One of my absolute favourites so far. We didn't know Orozco much beforehand, but definitely fans now..in fact, we would have loved to see more of his work. Also thought the photographs were really interesting, looking at things which are often overlooked.

Paul C.

For me the huge drapes of lint and the vast expanse of slivers of tyre were the high points. They turned the most mundane of everyday objects into genuinely original experiences and made me look at things in a different way. Nothing else in the show made a similar impact. The famous skull made me think of the BM Aztec masks and after a dozen of the scooter pix I got the point. While I got a lot of enjoyment out of quirky and humorous objects and pictures, the accumulated effect was a little banal.


I already knew some of Orozco's work. I was delighted to find again my favourite pictures: the sleeping dog, the deflated football filled with water. I am mostly drawn to his photographs that really capture poignant fragments of eveyday poetry. I was intrigued by the chessboard - Horses Running Endlessly, to me a powerful metaphor of both inifinity and the abscence of meaning. It seems a perfect visual representation of a tale Kafka might have written. Happy to find again Black Kites: those empty sockets are dangerously tantalising. Unfortunately, the rest of the production did not resonate with me.


Orozco is always provocative. It was good to see his work together as l have the seen the sleeping dog and the citron in other contexts.The obit series brought a perspective on life and the circle we are all caught up in.The lintels brings a smile to my face when l clean out the washing machine.It's the little things that count and the exhibition enlivens the everyday.


I enjoyed thecexhibition very much.I didn't know anything about Orozco before but I just loved his work.in particular I appreciated the Black kites, the Swhalbe series was just hilarious and la Ds amazing.I also enjoyed the horses running endlessly.what I appreciated the most is the fact that I could get the messages He is tryinfg to explain and I could really see, maybe for the first time, how an artistic mind works.

Gabriele Jackson

I really enjoyed the Orozco exhibition. His use of ordinary objects to arrest our assumptions about beauty is extraordinary. The simple beauty of his yellow schawble meeting its brothers and sisters lifted my spirits for the rest of the day. Black Kites of course is a beautiful, captivating piece of art and I could have looked at it for hours on end. But it was the Citroen DS that make me, for the first time, understand that there can be beauty in cars. I understand that other people regularly see beauty in machinery, but until Orozco, this was something I simply did not, could not, understand. He helped me see through the eyes of engineers and car-lovers everywhere. I don't think the fact that it was ultimately unusable matters. People still love Fiats, after all, right? ;-)

helen d

We both enjoyed the exhibition . I liked the quality of the work, the sense of dimensions. I was struck by the way some of the work really does not come across in photographs it has to be understood in 3D eg the DS and the Carambola. This is interesting because at the same time some of the photos by Orozco are so clever and work as photographs.I liked the contrast between the sculptures and the photographs and the wall pieces

I did not like black kites, I think its the archaeologist in me... and I feel a human skull is much more than a found object and so I felt it was a strange piece. It did not reach me and so I cannot say it was "a beautiful captivating piece of art" but other pieces of work were interesting to see and the exhibition as a whole has inspired and amused me.

Julian Smith

I quite liked elements of the show although it didn't break any boundaries for me. It fitted well into the "Tate" experience, which is by now, familiar. What didn't work so well was the endless noisy groups of school children, only 10% showing much interest in the work, more absorbed in their text/phone, bickering bubble. It seems that it is hard to get GCSE level kids to absorb much from PhD level work, at least without a modicum of instruction and organisation. Yes of course young people should be introduced to art, but there are other ways than simply releasing them into galleries. One can't blame the teachers, simply bringing them intact is a work of logistics, no I would hope that in the new extension, rather than simply increasing the space available for display and activity related to curation, a space could be found for activities more suitable for learning at all levels, either that, or an extension of gallery hours, so that those of us who require peace and space for contemplation and reflection find our entitlement is met in full.


I enjoyed some of it, and began to see the point he was making about space, but some parts I didn't like. Thye car and the chess set were brilliant.

anne hill

i enjoyed the variety in his art. i'm 64 did an art degree recently after being widowed and am looking for inspiration. i particularly enjoyed tha small works in ink and pencil on paper and the lintel fluff piece. they hit the spot for me. the car tyres were thought provoking. using what you see. my youngest son jon used to be always picking up rubbish as he thought it may be "nuseful' as he said aged two. he is now the design editor of the times and has designed some books for tate in the past. kind regards anne hill

Jules Rook

I loved this exhibition - it was well-curated and flowed perfectly. Orozco's photographs are wonderful - and very witty. I particularly loved the DS and the 'Obituaries' but, overall, I thought the whole exhibition was brilliant. Well done Tate, again, and thank you.


I went to the exhibit having only seen the publicity photo of Black Kites and went away thrilled and mentally/spiritually stimulated to get back to work on my own art 'practice'.

The things that struck me most about the exhibition:

1. The accessibility and unpretentiousness of the art. This isn't two squares of different colour that (try to) invite you to think about what art is, nor is it the ultra-hip-ness of a shark in formaldehyde or an unmade bed. It is clever, funny, thought-provoking, and often starkly beautiful. It is not, perhaps, Francis Bacon, but this artist is clearly experimenting with a much wider variety of concepts, techniques, and outputs, so the net result is bound to be a bit less even.

2. The sheer bloody-mindedness of good art. For those who mock the yellow scooter photos I feel it's worth thinking about the obsession went into that work. Two or three photos would have been amusing. Four or five and I would have said "Good enough for me." But this was well over 50. And hidden within that were interesting corruptions (all the photos point right, but some have been printed backwards... I don't know why, but I'm sure this was done on purpose). Or the painstaking pencilling in of Black Kites. And if you look in the catalogue then you'll see that he's done this to a grey whale skeleton. That's commitment to a practice on a level I can hardly comprehend.

3. The cut-up NYC phone book looked to me like the output of a genetic sequencing process. This got me thinking about information exchange as the 'genes' of society and, together with the Samurai Tree paintings which play with the concept of fractals, led to a good 20 minute discussion with my co-conspirator about the intersection between art, science, and society. Which is exactly what art should do in my opinion.

4. The finger rule work on the facing wall was exquisite and easily missed. I had to read the catalogue to understand how it'd been done and I'm still not quite sure that I've got it right. When was the last time you could say that about something done with paper and pencil alone?

5. The lint clotheslines were also exceptional, in my opinion, as creative uses of found objects. They are manifestly the remnants of thousands of people's lives (what's left after your clothes are clean, obviously) but they are also clearly talking about the remnants of life itself (our decaying bodies). And they are spectacularly beautiful in a way that I'd never have anticipated: I'd always thought what came out of the lint traps was 'cool', but I'd never have had the sideways approach to the world that would have enabled me to see how they'd look placed in the right context (many of them together, hung as if they'd somehow reconstituted themselves as clothes or bodies). The etchings on the wall are also astounding in their own way.

In all, a fascinating show and one that is all the better for being so accessible.

Ivor Kellock

Popped in yesterday with my daughter as it is half term - I thought the exhibition was fantastic - highlights for Lily were the Skull and the Citreon - For me the tyres and the Citreon - highly recommended for anyone who wants their perceptions challenged - not too dissimilar to the Ai Wei Wei exhibition in the Turbine Hall also on at the mo - thanks Tate loving it - Ivor


It did nothing for me.

deirdre mcardle

well I dunno Howard,only 7000 years to go and if we look back 5000 we see Stonhenge,I think we should try and imagine that far forward ! ( Villendorff Venus 24000 y.old :Venus of Hohle Fels 40000 y.old : cave paintings 30000, so 7000 years from now,bah! )

Olivia Sprinkel

Yesterday evening, I went to the Gabriel Orozco exhibition at Tate Modern. I wasn't sure what to expect from the review that I had read. I had thought that the work might be rather pretentious and/or inaccessible and/or pointless. The reviewer said that his favourite piece was the elevator - an elevator which the artist saved from a demolished building in Chicago, exposing its outsides to the world.

What I hadn't expected was the playfulness. And the elevator was one of my least favourite pieces. My friend asked me afterwards what my favourite piece was and, after due consideration, I replied that I couldn't single out a particular piece, what I liked was the overall atmosphere created by the exhibition. I came out and I felt uplifted, I felt light hearted. If there was a particular message that I took away from the exhibition, it was "lighten the **** up”, the philosophy of my diving instructor. Death is present early on in the exhibition. In the second room that we went in, there were long wall hangings with the headlines taken from New York Times obituaries, lives summed up in six words or less. I asked my friend what his six word obituary would be. He took that away to think about. I spotted a two word one - 'A dreamer'. Perhaps that would be me. Or 'Questioned fixed truths' or 'Preached positive attitude'. I liked 'Burlesque star famous for her bubble baths'. 'Once ran Kodak' struck me as poignant. Seeing these at the beginning of the show, along with the checkerboard skull, somehow put it - life, the show - into perspective. And freed you up for the rest of the exhibition. Leave whatever your baggage is at the door, just enjoy looking at the world around you and playing.

In the next room, there is a work called 'Lintels'. Rigid wire washing lines are strung across the room in rows. Hanging from the lines are sheets of lint, taken from the filters of dryers in a laundromat in New York. These sheets are fragile, some have holes torn in them. The majority are grey, but some have hints of colour. You can wander under the rows, looking up at them, seeing the light coming though, stray captured hairs illuminated. I say that it is sad, but also beautiful.

The experience continues. The adjoining room has pictures of yellow mopeds all around the walls. When Orozco was in Berlin, he bought a yellow 'Schwalbe' (swallow) scooter, and he then looked for matching scooters, photographing his bike with them whenever he saw one. At first, my reaction was 'so what?' but the cumulative effect is powerful, and I ended up thinking - 'why not?' It was a game that Orozco was playing.

In the furthest room, the game theme is the most obvious. Carambole is a French variation of billiards played on a table without pockets. Orozco constructed a circular table, with two white balls on the table, and the red attached to a thread, so if it is hit, it swings on a pendulum. People played in pairs or individually. Then a couple played and they decided that they were going to take aim at the whites at the same time, sending them colliding together. It is up to us to make up the rules of the game. And there is the moment of surprise as the red swings off the table.

In the same room, there is a selection of photographs. There are delicate, fragile moments, as in the photograph 'Breath on piano'. There is the slowed down moment, as in 'Pinched ball', where the sunken cheek of a ball is filled with water. It reminded me of an image that has stayed in my head from the Philippe Parreno films at the Serpentine gallery where a cow walks through mud, and the camera lingers on the footprint left by the cow as it fills in with water. And there are pictures that made me laugh out loud. How many times have you laughed in a gallery? A picture of tins of cat food, with cats peering off of the labels, balanced on top of the full bellies of watermelons, just made me laugh. There is absolutely no point to it, apart from the sheer fun of it.

Walking back towards the exit, there is still more to take in. There is a simple ceiling fan spinning, with rolls of toilet paper attached to the end of each of the three blades, creating moving spirals of paper. It is something that anyone could make. But it is having the idea, the eye that is necessary. And the ability to play and laugh.

Afterwards, we went for a drink. My friend reminded me of a conversation that we had had a few weeks ago about how good art changes your life. I read out Gabriel Orozco's quote from the exhibition leaflet: 'For me what is important is not so much what people see in the show, it's what you see after...how your perception of reality is changed...' I say that it is this changing of how we see things everyday that is in fact the most profound, life-changing affect that art can have. If we can learn to see what is around us, then our life will necessarily change. And if we don't take life so seriously, then perhaps it will be easier to see what is around us, and to look differently.

Basia Newson-Smith

Loved it. Didn't expect to find it so thought-provoking and challenging; but I did, to the extent I plan to go back next week.


took my nephew, niece, sister and bro in law, we all enjoyed it hugely. light, humourous but thought provoking. games without rules particularly challenged and then appealed to the younger generation. I enjoyed the one person wide citroen and we spent lots of fun time deciding what our obituaries would read in the skull room. As a keen cyclist I loved the circularity and connectivity of 'there is always one direction' and daisy our 8 year old very active young lady got happily giddy underneath the 'ventilator'. wonderful family show - well done tate

Matthew Harris

Truly amazing exhibition of Orozco's work by the Tate and Jessica Morgan. There was a perfect mix of humor, social commentary, artistic brilliance and a use of everyday objects in extraordinary ways that will stick with me for some time to come. "Obituaries" blew me away.

Christine Thornton

I really enjoyed this show. I thought the work was intelligent, articulate, obsessive and intriguing.

'Lintels' was my favourite piece. I could've wandered underneath it for hours.

Great show. Thanks!


Like many others, I did not know very much about the artist or his work, and as such I was unsure of what to expect beyond the famous Black Kites, although I expected a degree of variety in the work. I was not let down at all. The exhibition was witty and moving, and thought provoking, not just in terms of the ideas and emotions behind the art, but also in terms of what can be used as an expressive medium. I felt that it was well curated (as always with Tate) and the information provided was detailed enough to satisfy those with working knowledge of art or the art world, while being accessible (yet not patronising) to those with little experience. Well worth visiting. Thank you!

chris davis

What an exciting show! We loved it. Witty, eloquent, poignant, everything new to us and we're so glad we visited it. Loved DS and the skull and obits, my friend loved the yellow scooters. I came home with postcards and the book so i could continue to enjoy the lovely photographs. I'm not a great one for photographic art, but these were stunning, the roof with the sky reflected in water, the football, the NY skyline, brilliant. Chess board beautiful. Most stunning, the Lintels. Super show,thank you.

jenny ramkalawon

Throughly enjoyed our visit - enticed my seven year old son to the exhibition by showing him the small film on Orozco on the tate website so when we got to the exhibition he knew he really wanted to see the DS which he loved & he enjoyed playing on the carambole table. Can only agree w. the other comments here - it's a superbly curated show - thanks very much.

C Bustani

It's notable how many bloggers mentioned their children being mesmerised - mine was too. He began the exhibition saying "this guy is mad" and by the end it was "this guy's a genius". The one thing Orozco is not, is pretentious. And that is a breath of fresh air in a form of art which tends to attract pretention. The exhibit was curated in this spirit - it was open and inviting, sharing in the curator's enthusiasm, rather than (as one often sees) obfuscatory and self-important. I went twice (the first time to a private viewing), each time I was stretched and challenged to do just as Orozco wanted - to see everyday things in a new light, to live life more intensely. My 9 year old son got this message even before watching the video - "he takes general things and makes them stand out." Thank you Tate.

sally redway

I don't know whether you want comments n the artist's work, or the exhibiting of it.

I suppose the exhibition. I thought things were well exhibited - I didn't notice much about it to be honest. I liked some of the work a lot though. Except the photos - I didn't see the point of making those things evident to us.

Alex Hill

I'm quite sympathetic to the use of found objects and minimal interventions by artists so it's not surprising I quite enjoyed the show. Also, it was not too large as bigger shows can be overwhelming. I liked the fact that Orozco 'wears' his knowledge and ideas quite lightly.

Geraldine Poulton

In my view, not many contemporary artists of late have demonstrated such a profound and captivating command over various artistic media as does Orozco. His work ranges from the aesthetically pleasing richly saturated Schwable photographs to the deeply uncanny Lintels. It was especially the latter piece that led me to think about themes of death, fragility and playfulness, which overall seemed recurrent throughout the exhibition. It is hard to pin down my favourite piece featured, however, the one which left the greatest mark was definitely the photograph 'Sleeping Dog'; it fostered conflicting interpretations; namely whether the dog was in fact sleeping, or otherwise. I think this photograph somewhat encapsulates Orozco's practice; on one level being playful, inventive and ambiguous, and on another,capturing the more serious and pervading subjects in human life that we cannot often escape from. Overall - a very engaging and punchy exhibition; the best I have seen in a while.

Amit Mozoomdar

I really enjoyed the Orozco exhibition - was bowled over by the diversity of the artist's work. I loved the surreal Citroen DS in its setting of the gallery of scooter photographs, "lintels", the snippets from obituaries, the enlarged chessboard with its swarming, demented knights. But the shoe box???


Really enjoyed this exhibition - very varied and thought-provoking as are all Tate exhibitions. Particularly enjoyed the car, and the scooter photos.

Dave Hodder

I came into the exhibtion not really knowing what to expect, not being aquainted with Orozco's work I was a blank canvas so to speak. I liked La DS and elevator as the idea of taking normal everyday items and subverting them appeals to me. I was also struck by the Samurai Tree Invariant series which remided me a little of Mondrians works ( Orozco used circles instead of grids & squares).

My absolute favourite though was Until you find another yellow Schwalbe. The thought of Orozco travelling round Berlin and getting excited when he saw another yellow Schwalbe to meet his own stayed with me as i looked at all the Schwalbes he did meet. This is particularly relevant to me as my father used to drive a reliant robin and on the rare occasions we "met" one on the roads there was always a nod and a wave to the other driver.

All in all a good afternoon out.

Michael Ryley

I came to this as did most others knowing nothing about this artist. I can't say I was bowled over by this show. There were a few things that caught my eye - the obituaries, as many others have mentioned, the scooter photos, and his own photos, particularly the one under the shower head, for instance. But it seemed like skimming the very surface of what is nearly two decades of work. It didn't move me very much apart from the bits I've just mentioned. The oval pool table was a bit fun, and everyone was enjoying slapping the ball around. I expected more of this kind of interaction in fact, but it all seemed a bit stiff for all his irreverent concepts.

Laurence Kehoe

Overall I thought most of it was very clever, thought provoking and imaginitive. My favourites were the classics - the Citroen, the skull and the bicycles (and the laundrette drier lint hanging on clothes lines was true genius (!) but the rest was also highly illuminating and entertaining. HOWEVER - please remove the shoe-box exhibit. In the context of the rest I thought it was simply puerile.

Judy Goring

Curation of so many disparate styles and forms but have been a challenge, but well executed. To me, the work showed little development or cohesion and just seemed to be a collection of experimention with materials, not an expression of the artists' self - sorry.


I loved the Citroën Pressée.... Wonderful exhibition, and great fun for the kids as well!

Mark Steed

The Mexican artist Gabriel Orozco provides us with a mirror on modern society. He forces the viewer to reflect on life by taking everyday objects and scenes and presenting them to us as art. Sometimes the subject matter is playful as in Four Bicycles (There Is Always One Direction) 1994; at others macabre as in Black Kites 1997, a sculpture consisting of a chequerboard pattern painted on a human skull.

La DS 1993, epitomises Orozco's approach and method. In this work Orozco has reshaped a Citroen DS to accentuate its aerodynamic design by removing the central longitudinal section of the car. The resulting two-seater is a paradox: an engine-less car that is styled for speed. Here is both wit and poignancy.

The most surprising piece for me was Lintels 2001, an installation of washing lines draped with the lint formed of skin, hair and fabric that accumulates in the filters of commercial tumble drying machines collected from a laundromat in New York. The piece, which is a meditation on the precariousness of life, was first exhibited in New York in the aftermath of 9:11.

Orozco enjoys playing games. Indeed he takes this as one of his themes. In Horses Running Endlessly 1995 he invents a variant of chess with a board four times as large populated only with four teams of knights. With no king to capture the conventional goal of the game has disappeared and the viewer is forced to create his own rules for the game. Likewise, in Carambole with Pendulum 1996 the viewer is presented with a game with no possibility of winning in conventional terms.

Going around the exhibition I was reminded of the time when I was a student, when in the course of an argument that ran into the small hours we blue-tacked a pencil to the wall and pronounced on whether or not this constituted art. Orozco challenges our notions of what constitutes art throughout but nowhere more so than in Shoebox 1993, a very witty piece in this exhibition which does not even appear in the guide. Shoebox 1993 is simply that - it is an empty commercial shoebox placed in the middle of the gallery floor without barrier or obvious label. A shoebox in any other context is just a shoebox, but a shoebox on display in the Tate becomes art.

If great art is defined as art that you come back to time and time again and see something new, then this is not great art. But Orozco does make you think and he does make you smile.

Gabriel Orozco is at the Tate Modern until 25th April 2011.


I found this exhibition to be a playful celebration of the everyday, the ordinary and mundane. Simple objects such as a bag of water or shower head that would't ordinarily be given a second glance are given a sense of importance and beauty. Event the somewhat gimicky circular, pocketless pool table was interesting. The sound of the snooker balls, breaking the tradition of quietness that we so readily aquaint with the gallery space. My particular favourite was the floor space filled with remnants of thick, strong, built to last tyres, aligned in an orderly fashion. I associated them with flat tombstones. They made me think about the possible distruction and turmoil that these burnt out tyres could have caused and led me to think of my own mortality.


I really enjoyed it. I was there on a Saturday and it was a bit crowded, so I'll be back during the week to see it with more quiet. Hugely enjoyable! Maybe I am not getting it right but in most of the work I feel a great sense of humour and humanity. I was not so impressed by the skull but really enjoyed the "Schwalbe" series of photos, the bicycle tower and the streamlined citroen. The tyres reminded me a bit of Beuys but, again, with more accessibility and humour.


I felt that the stuff in the books about his work was more interesting than some of the stuff on display. I think the exhibition could have had a better selection of stuff.

john harvey

This comment is copied from my blog mellotone70up

One day during half-term I went with my youngest daughter and one of her friends - both in their second year at secondary school - to the exhibition of Gabriel Orozco's work at Tate Modern.

What did we think?

Fun, above all else, fun.

And then, interesting, really interesting - even the pieces that at first glance seemed unpromising were interesting - the black snowball which turns out to be a chunk of plasticine the artist has rolled along the streets accumulating cigarette ends, discarded scraps and all the detritus of city life along the way - the mobile made from sheets of toilet paper attached to the ceiling fan - the large floor sculpture fashioned from shredded sections of vehicle tyres retrieved from alongside a motorway. And that's without the sculpture made from four bicycles or the pocketless oval snooker table with the red ball swinging from above and plentiful cues encouraging you to join in.

So, variety, that was the next thing. Everything from photographs to lovely ink-blotty paintings to washing lines of drying machine lint to the famous Citroen DS which Orozco cut in half and, having removed the middle, stuck together again.

The girls looked at and lingered over every piece in every room and their reactions ranged from fascination to laughter to bemusement, but never boredom.

Orozco, we seemed to have decided, was not only a wonderfully inventive artist but someone who made you stop and think about the everyday stuff and life and look at it, just for a few moments perhaps, in a different way.

Oh, and did I mention the human skill on which, carefully and laboriously, he drew a checker board design using an ordinary graphite pencil ... ?

Derek Trollope

My wife and I visit Tate Modern a lot and view most of the major exhibitions. We are also fond of the main collection. The Orozco exhibition was a bit of an enigma. I found his creativity and sense of irony amusing - the bicycles that couldn't go anywhere; the ultra streamlined car that had no engine; the game of carambole that couldn't be played; the game of chess that was going nowhere; the lift with no function, etc. In tone, I felt that the exhibition was ultimately a disappointment. Yes, the objects were fun, the thought process interesting and the execution of skills in the creation of the objects, in most cases very well done. But to its overall meaning we were not sure. Perhaps the objects on display were too disparate to have any real continuity - from created objects in clay; to 2D photographs and drawings; to found objects, both large and small, possibly led to a feeling of confusion. On leaving I felt entertained, but great art to enlighten and return to I'm not too sure. Thank you for the opportunity to experience an artist not known to me. I'll think on.


I enjoyed the exhibition. It did blow me away like the Ofili exhibition i went to last year, but some of his works really spoke to me, especiall 'Lintels', 'Chicotes', 'Obit Series' and the lift. I like the idea that he 'found' some objects and transformed them into something seemingly familar but actually strange to us.

jacqui latten-quinn

This exhibition is impressive. We had intended to see the Watercolours however we ran out of time so popped into the Orozco exhibition. I am not sure if it any exhibition needs to have an overall meaning other than offer a moment to pause , think and enjoy all of which we did and an exhibition to which we will return

Teresa Ayoub

Hadn't heard of Orozco before visiting the exhibition on Sunday.

The photographs of the scooters, the Citroen and many of the other pictures appealed most. The tyre shards were very thought provoking especially as I could 'see' faces like masks in the molten metal. Eyes and mouths like the ghosts of accident victims. The skull did nothing for me and I find empty shoe boxes uninteresting but overall enjoyed the experience. I took a friend who is a serious student of art and she loved it, particularly toilet paper on a fan, the phone directory and lintels. Amazes me the way each piece has different supporters.

Ai Weiwei's sunflowers strike me as ridiculous but also make me worry about the toxic exposure to the people desperate for work and unprotected. An acquaintance suggested that they should be put into a vending machine and sold for a pound/euro each!


Fingerruler! Fingerruler!

Valentina Guerrieri

I found some of Orozco's photographs interesting, such as 'Extension of Reflection' and 'island Within an Island'. I think the idea or message behind some of his photographs is original, but the majority of them seem very ordinary. Overall, I liked a very small number of his works, and I got the impression that Orozco is recycling ideas and making 'art' that had already been made before, albeit in a different form and shape. Take the 'Lintels' for example, though made for a different context (Twin Towers 11 Sept 2001), the idea of attaching hair to the work to symbolise human loss had already been used by Doris Salcedo in her tables. Not to talk of the shoe box, which I refused to even look at, and 'Yelding Stone', whose idea behind -or part of it- that of bringing dirt into the museum space, is far from original. I particularly liked that this exhibition was empty, an aspect which allowed me to view these "artworks" nicely. After visiting Tate Modern, I decided to pop over to Tate Gallery to see the exhibition on Watercolour. This was absolutely crowded, so much so that you had to wait for people to move in order to view the next work.

tom Cunliffe

I have to congratulate Tate Modern on its recent curatorial decisions...John Baldessari two years back and now the Orozco. Both shows revealing artists who actually think .....differently about one piece of work whilst ensuring that the next piece of work/idea is not just going to be more of the same. It must be great being an art student these days for the one thing they do not get is predictability.....whereas Art the 70's and 80's was dull and you were fed the same mediocre diet, by the same old punters who presented the same old 'clap trap' year after year. I recently spent three very enjoyable hours in the Saatchi gallery and came out thinking ...Isn't it brilliant seeing a bit of the avant garde around...something that really provokes, stimulates, challenges. Then I look at British Poetry and ask myself.....Where is the 'modern' even? The highlight of the Orozco show for me is the Citroen DS......I've loved this car since the 60's and ( I am not a 'Top Gear' loonie) I have considered buying one myself in the past. This model features in the 'top ten' car designs of all time, it is a masterpiece and Orozco, through selection, immediately reminds us of the cars fine sculptural qualities. How then do I respond to this apparent 'hatchet job' in slicing this icon up? I love it. Orozco takes something I know so well and gives me something totally new, fresh......he takes me somewhere else. Incidentally I found the distortion effect in viewing the vehicle from the side/rear...and front/side really disturbing. We are use to seeing distortion in photography, TV, film etc but to me the effect was bewitching, challenging again what I know so well ( the cars proportions/ design features etc) and getting the unexpected......a bizarre, almost dizzying effect. A couple of months back I saw a small bronze of a rearing horse at the RA ( attributed to Leonardo)...an absolute 'ding dong' of a piece. Sadly these 'jackpot' occasions do not happen too often in life....Orozco's auto fits there for me...It could just be the arty highlight of my year. I'd love to know what the missing, 'middle' slice looked like....it would be perfect my house.