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ArtGuide - Museum
Bankside - London - February
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February 2011
Gabriel Orozco
Tate Modern
Level 4
until 11 April
Tate Modern
Level 4
until 11 April
La DS 1993
Gabriel Orozco
Fonds national d’art contemporain, Puteaux, France © Courtesy of the artist. Photo: Florian Kleinefenn
LONDON. THIS RETROSPECTIVE of the leading Mexican artist Gabriel Orozco (b 1962) is the largest presentation of his most critically acclaimed works in the UK. A sculptor of global significance, Orozco draws on the histories of western and Latin American art practice with limitless innovation and experimentation. Featuring over 80 works, and a new installation never previously exhibited, the survey will highlight Orozco’s substantial production of sculpture, photography, drawing and painting.
Orozco has become renowned for his boundless experimentation with found objects, both natural and man made, which he subtly and playfully alters. The exhibition will feature major early examples of this practice, including La DS 1993, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined, aerodynamic design. Black Kites1997, a human skull upon which Orozco drew a dense geometric checkerboard pattern, will be another highlight of the show. Taking a structured flat grid and superimposing it over the contours of an irregular three-dimensional surface, this work shows Orozco’s fascination with combining the systematic and the organic. Other sculptures investigate the orderly structures of game playing, as in Horses Running Endlessly 1995, a chess set consisting entirely of knights.
Orozco’s work has been particularly informed by his extensive travels and his relationship to the various places he lives, including Mexico City, Costa Rica, Brazil, New York, and Paris. The exhibition will show how these diverse sources, resulting from an itinerant life, are reflected in the past 25 years of his work. In Yielding Stone 1992, Orozco created a plasticine ball, equal to his weight, and pushed it through the streets of New York. The sculpture became slowly imprinted by the journey and gathered detritus from the city, its surface containing the memory of its movements.
Using objects found in urban settings or capturing chance encounters, Orozco manages to simultaneously encapsulate the pleasure of witnessing life and its frail significance. A range of photography will be included which captures the poetry of fleeting moments, from ripples in a puddle to the condensation of breath on a piano.
Gabriel Orozco at Tate Modern is curated by Jessica Morgan, Curator, Tate Modern assisted by Iria Candela, Assistant Curator, Tate Modern. It was organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, with Paulina Pobocha, Curatorial Assistant, Painting and Sculpture, at The Museum of Modern Art, New York. The exhibition travelled to the Kunstmuseum Basel and was displayed at the Centre Pompidou, Paris from 15 September 2010 - 3 January 2011. The exhibition is accompanied by a fully illustrated catalogue as well as a new book as part of the Modern Artist series, by Jessica Morgan.
Orozco has become renowned for his boundless experimentation with found objects, both natural and man made, which he subtly and playfully alters. The exhibition will feature major early examples of this practice, including La DS 1993, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined, aerodynamic design. Black Kites1997, a human skull upon which Orozco drew a dense geometric checkerboard pattern, will be another highlight of the show. Taking a structured flat grid and superimposing it over the contours of an irregular three-dimensional surface, this work shows Orozco’s fascination with combining the systematic and the organic. Other sculptures investigate the orderly structures of game playing, as in Horses Running Endlessly 1995, a chess set consisting entirely of knights.
Orozco’s work has been particularly informed by his extensive travels and his relationship to the various places he lives, including Mexico City, Costa Rica, Brazil, New York, and Paris. The exhibition will show how these diverse sources, resulting from an itinerant life, are reflected in the past 25 years of his work. In Yielding Stone 1992, Orozco created a plasticine ball, equal to his weight, and pushed it through the streets of New York. The sculpture became slowly imprinted by the journey and gathered detritus from the city, its surface containing the memory of its movements.
Using objects found in urban settings or capturing chance encounters, Orozco manages to simultaneously encapsulate the pleasure of witnessing life and its frail significance. A range of photography will be included which captures the poetry of fleeting moments, from ripples in a puddle to the condensation of breath on a piano.
Gabriel Orozco at Tate Modern is curated by Jessica Morgan, Curator, Tate Modern assisted by Iria Candela, Assistant Curator, Tate Modern. It was organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, with Paulina Pobocha, Curatorial Assistant, Painting and Sculpture, at The Museum of Modern Art, New York. The exhibition travelled to the Kunstmuseum Basel and was displayed at the Centre Pompidou, Paris from 15 September 2010 - 3 January 2011. The exhibition is accompanied by a fully illustrated catalogue as well as a new book as part of the Modern Artist series, by Jessica Morgan.
HISTORY OF TATE MODERN
Tate Modern was created in the year 2000 to display the national collection of international modern art (defined as art since 1900). This forms part of the Tate Collection which is the national collection of British art since 1500 and international modern art. The international modern art was formerly displayed alongside the British art at what was previously the Tate Gallery and is now Tate Britain.
By about 1990 it was clear that the Tate Collection had hugely outgrown the original Tate Gallery on Millbank. It was decided to create a new gallery in London to display the international modern component of the Tate Collection. For the first time London would have a dedicated museum of modern art. At the same time, the Tate building on Millbank would neatly revert to its original intended function as the national gallery of British art.
An immediate problem was whether the modern art gallery should be a new building or a conversion of an existing building, if a suitable one could be found. As a result of extensive consultations, particularly with artists, it was decided to search for a building to convert. When the building that is now Tate Modern presented itself, it appeared something of a miracle. It was a former power station that had closed in 1982, so it was available. It was a very striking and distinguished building in its own right, by the architect Sir Giles Gilbert Scott. Not least, it was in an amazing location on the south bank of the River Thames opposite St Paul's Cathedral and the City of London. Plans were almost immediately formulated to build a footbridge to link the new gallery to the City. The fact that the original Tate Gallery was also on the river made a satisfactory symmetry, and meant that the two could be linked by a riverboat service.
An international architectural competition was held attracting entries from practices all over the world. The final choice was Herzog and De Meuron, a relatively small and then little known Swiss firm. A key factor in this choice was that their proposal retained much of the essential character of the building. One of the shortlisted architects had, for example, proposed demolishing the splendid ninety-nine metre high chimney, a central feature of the building.
The power station consisted of a huge turbine hall, thirty-five metres high and 152 metres long, with, parallel to it, the boiler house. The turbine hall became a dramatic entrance area, with ramped access, as well as a display space for very large sculptural projects. The boiler house became the galleries. These are on three levels running the full length of the building. The galleries are disposed in separate but linked blocks, known as suites, on either side of the central escalators. The Tate collection of modern art is displayed on two of the gallery floors, the third is devoted to temporary exhibitions. Above the original roofline of the power station Herzog and De Meuron added a two-storey glass penthouse, known as the lightbeam. The top level of this houses a café-restaurant with stunning views of the river and the City, and the lower a members room with terraces on both sides of the building, the river side one offering the same stunning views as the restaurant. The chimney was capped by a coloured light feature designed by the artist Michael Craig-Martin, known as the Swiss Light. At night, the penthouse lightbeam and the Swiss Light mark the presence of Tate Modern for many miles.
Tate Modern was created in the year 2000 to display the national collection of international modern art (defined as art since 1900). This forms part of the Tate Collection which is the national collection of British art since 1500 and international modern art. The international modern art was formerly displayed alongside the British art at what was previously the Tate Gallery and is now Tate Britain.
By about 1990 it was clear that the Tate Collection had hugely outgrown the original Tate Gallery on Millbank. It was decided to create a new gallery in London to display the international modern component of the Tate Collection. For the first time London would have a dedicated museum of modern art. At the same time, the Tate building on Millbank would neatly revert to its original intended function as the national gallery of British art.
An immediate problem was whether the modern art gallery should be a new building or a conversion of an existing building, if a suitable one could be found. As a result of extensive consultations, particularly with artists, it was decided to search for a building to convert. When the building that is now Tate Modern presented itself, it appeared something of a miracle. It was a former power station that had closed in 1982, so it was available. It was a very striking and distinguished building in its own right, by the architect Sir Giles Gilbert Scott. Not least, it was in an amazing location on the south bank of the River Thames opposite St Paul's Cathedral and the City of London. Plans were almost immediately formulated to build a footbridge to link the new gallery to the City. The fact that the original Tate Gallery was also on the river made a satisfactory symmetry, and meant that the two could be linked by a riverboat service.
An international architectural competition was held attracting entries from practices all over the world. The final choice was Herzog and De Meuron, a relatively small and then little known Swiss firm. A key factor in this choice was that their proposal retained much of the essential character of the building. One of the shortlisted architects had, for example, proposed demolishing the splendid ninety-nine metre high chimney, a central feature of the building.
The power station consisted of a huge turbine hall, thirty-five metres high and 152 metres long, with, parallel to it, the boiler house. The turbine hall became a dramatic entrance area, with ramped access, as well as a display space for very large sculptural projects. The boiler house became the galleries. These are on three levels running the full length of the building. The galleries are disposed in separate but linked blocks, known as suites, on either side of the central escalators. The Tate collection of modern art is displayed on two of the gallery floors, the third is devoted to temporary exhibitions. Above the original roofline of the power station Herzog and De Meuron added a two-storey glass penthouse, known as the lightbeam. The top level of this houses a café-restaurant with stunning views of the river and the City, and the lower a members room with terraces on both sides of the building, the river side one offering the same stunning views as the restaurant. The chimney was capped by a coloured light feature designed by the artist Michael Craig-Martin, known as the Swiss Light. At night, the penthouse lightbeam and the Swiss Light mark the presence of Tate Modern for many miles.
About Tate Modern
Plans to open a second gallery in London devoted to Tate’s national collection of international modern art were first announced in 1992 and the search began for an appropriate site.
The former power station at Bankside was selected in 1994, and in 1995 Swiss architects Herzog & De Meuron were appointed to convert the building into a gallery. That their proposal retained much of the original character of the building was a key factor in this decision.
The iconic power station consisted of a stunning turbine hall, 35 metres high and 152 metres long, with the boiler house alongside it. The turbine hall became a dramatic entrance area, with ramped access from the west, as well as a display space for large sculptural projects and commissions. The boiler house became the galleries.
Since opening in May 2000, more than 40 million people have visited Tate Modern, which, although it was only built to accomodate two million visitors, attracts some five million visitors per year. It is one of the UK's top three tourist attractions and generates an estimated £100m in economic benefits to London annually.
In 2009 Tate embarked on a major project to develop Tate Modern. Working again with Herzog & de Meuron, the transformed Tate Modern will make use of the power station’s spectacular redundant oil tanks, increase gallery space by 60 per cent, and provide much improved visitor facilities.
Plans to open a second gallery in London devoted to Tate’s national collection of international modern art were first announced in 1992 and the search began for an appropriate site.
The former power station at Bankside was selected in 1994, and in 1995 Swiss architects Herzog & De Meuron were appointed to convert the building into a gallery. That their proposal retained much of the original character of the building was a key factor in this decision.
The iconic power station consisted of a stunning turbine hall, 35 metres high and 152 metres long, with the boiler house alongside it. The turbine hall became a dramatic entrance area, with ramped access from the west, as well as a display space for large sculptural projects and commissions. The boiler house became the galleries.
Since opening in May 2000, more than 40 million people have visited Tate Modern, which, although it was only built to accomodate two million visitors, attracts some five million visitors per year. It is one of the UK's top three tourist attractions and generates an estimated £100m in economic benefits to London annually.
In 2009 Tate embarked on a major project to develop Tate Modern. Working again with Herzog & de Meuron, the transformed Tate Modern will make use of the power station’s spectacular redundant oil tanks, increase gallery space by 60 per cent, and provide much improved visitor facilities.
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