Gabriel Orozco at Tate Modern

I think good art makes a person feel individual and conscious and there is awareness in the moment of the contact with art I don't think artists to make people feel they're a mass entertained by some spectacle a good work of art is making that person feel aware of the individuality in that moment of concentration and awareness not it's not about entertaining or mesmerizing anybody I like to think that every piece I do it needs concentration to be understood to see it clearly to understand what is behind the digestion in my work that sometimes looks too easy or or banal oh okay good I can see you know so this is the black and white image yeah remember contrasted symmetry is important to me I like to explore this notion of symmetry in general in my work is everywhere the idea of that you have a line of transit you establish a kind of symmetrical displacement in reality and how the body acts symmetrically and asymmetrically at the same time the perception of the object that is designed to the body and has quite a complex structure and then suddenly with a kind of simple gesture to exaggerate of that all that okay I want to ask you something crazy I don't know can you insert a dot in between every dot okay lazy how many does you think we have here in general in my work is not about showing off a kind of high level of technology or production this is not about the skills of manufacturer or the economical power in the production but it's just showing something that is not so complicated to make that is kind of easy everybody can do you can have strong experience that has some impact without showing off your production skills we are trying to make one layer just one they use just one portal we are using right now and I think is looking actually looking very bad you see yeah I can see you are nervous because you have a camera it's very hard to work under pressure and they see a lot of my photograph they start to see things in reality connected to this photographs I think is nice to disrupt the everyday life in the streets with something that is kind of subtle it's not so much an imposition but a dialog with what is happening me so I think for me what it is important is that they those gestures in life they can be transported to the people and that is very important I think that is the most important thing that rule the work you can help people enjoy reality and life with more intensity ah I like games and sports a lot this is a legend I can be very silly I think I can enjoy very silly things I do silly things I mean I think my work is both normally silly and serious I think that ya can be perceived as a kind of joke then I think I am very serious too but well it's true that you hit somebody with this no I am a serious artist I just always loved art and I was rounded by art in my life I just follow it now it's a point that they are finishing rooms this point the artist just waits and waits and waits that's why I don't like to come to installations because I just waiting I cannot touch the work I cannot touch them because they get very nervous the boss is having fun and then I am here waiting [Music] we do what she got this first or this first with the Chico this okay we did I [Music] hope he's gonna work is a new installation I did in Mexico collecting tires from the motorways traveling the roads in Mexico I always found these pieces of tires that broken ties that that they look at sometimes like serpent so they look like an animal in the middle of the road and I start to collect them and I found them quite interesting normally I get involved in all of the work I like to do it because I need to find out by myself so every time is a new experience and I need to understand experience to get to the final conclusion we'll have two installations one is the lintels which is this land room at residues from the dryer machine that I showed in New York right after September 11 the city was still quite dusty and shocked and the presence of this disaster was so strong showing this work with all these residues of clothes but also human hair and particles of the body was strange presence and feeling about you know frigidity and death and the residues of movement the hood was not easy to make because it's a curve that makes a curve like that and like that so to cut it and then fit it again he was very hard I wanted to be Formula One race driver and I have this idea that a lot of the cars in the streets they can become sport cars so finally when I grow up my dream came true this handmade that is not is impossible to make it like in a James Bond movie that it's just like zoom since I was a kid I have been obsessed by circles a lot of my drawing have to do with planets and motion as much as I was drawing cars I was drawing planets for me was everything important was circular you can take it as a model of kind of orbits and planets or a molecular model of heating atoms the carambola piece you know is based on a game of cold Karen ball which is also called French billiards so there are no pockets three balls and you play just to hit the other two balls with your own ball in this case I made it oval so the behavior of the ball in the oval bands is very different and very hard to predict and then one is hanging so is floating out of the field so you have to have a good sense of timing to to play the game but it's not impossible to play [Music] I get very easily so that's why I need to move to something new and explore something that I'm not sure what it is I like to be learning a brickwork is different has a different process because cereals many types of techniques many types of encounters to live the process is very important to understand very well why you are doing something and then also that gives you ideas for new works you

Channel: Tate

Views: 150,446

Rating: 4.1188812 out of 5

Keywords: tate orozco gabriel orozco tate modern exhibition art 2011 photography installation Tate Modern, London (Museum)

Id: LwF9nTEB84k

Length: 9min 39sec (579 seconds)

Published: Fri Jan 21 2011