Monday, October 3, 2022

Gabriel Orozco at Galerie Chantal Crousel


Orozco used to make sculpture. Now Orozco sells tourist art, but as the tourist. Souvenirs not of your travels but his, buying his peripatetic romance. We purchase romance. - this is what artists sell, on Japanese paper. That they are almost literally inkblots is perfect. Because this romance is all you can project into it, interpret it. A diary of plants, us once again reading tea leaves left of porcelain walls, shit. 

The whole premise of "process-based abstraction"'s creating souvenirs of experience is premised on some vestigial trait of conceptual that may never have existed. Like, does On Kawara's "January 22nd 1988" on canvas actually mean anything outside a finger pointing toward it. Does an artist in the forest placing native plants on a canvas actually contain its sound? What information is stored? 

While this was the central conundrum to conceptual art since its inception, the rupture and distance between sign and object (always at risk that its sign didn't actually contain its object) it has since been taken as granted, as a granting agency for value added. .... Jason Rhoades built a career of mocking this value-added system, performing it under absurdly comical conditions, to create his referentially seminal signature: PeaRoeFoam, a mess of so much reference and history and jest that it self imploded. 

souvenirs of experience: Sam Falls at 303 Gallery, their valorization: James Hoff at VI, VII

Tea leaves from the bowels: Yuji Agematsu at Lulu

and of course, inkblots.