How many things [aims, desires] do we keep inside
merely because we have not yet found the medium with which
to express them? A drive that is in reality a demand made
by others. Or a demand made by our misunderstood desires.
We do not act without justification.
The others need why. We don’t.
Gabriel Orozco (Jalapa, Veracruz, 1962) is an internationally acclaimed conceptual artist. His work, including pieces such as DS, Caja de zapatos vacía and Papalotes negros, among others, has captured the interest of critics, art historians and the public since the early 90’s; many analyitical essays have been written on his art.
Orozco has been very influential in contemporary Mexican art, not only due to the medium and materials he chooses, but because of the shift he has generated both in our understanding of conceptual art in general and in how Mexican art is viewed at an international level.
Fotogravedad is a new edition of the catalogue published for Orozco’s homonymous exhibit presented at The Philadelphia Museum of Art in 1999. It gathers together texts, installation photographs and facsimiles of the artist’s notebooks in a collage described by Ann Temkin in her epilogue as: “[Photogravity] deepens Orozco’s questionings about the relationship between the object and the image. A sculpture can be a tridimensional photograph; a photograph, a bidimensional sculpture. The distinctions between the object and the image probably never were as clear as we thought they were, but Orozco attracts our attention to the ambiguities and the rich possibilities that a relationship such as this encloses.”