|Four Bicycles (There Is Always One Direction). 1994|
One of the most delightful things about this exhibition is that Orozco had the interior walls of the glass-walled Galerie Sud removed, and the result is an exhibition that becomes an extension of the square outside. Depending on what way you look at it, it maybe that the gallery space opens out and spills over into the square outside.
|The other side of the Pompidou Center|
|Gabriel Orozco, Extension of Reflection, 1992|
The exhibition includes "actors playing the role of Mexican police guards 'imported' to take care of the works." Sadly, the idea of these "police guards" is much more enticing than the reality. The young uniformed or costumed guards slouched on chairs, talked to each other, thus distracted from the silence created by Orozco's works against the background noise of the skateboards. As promised by a sign at the entrance, the works were alarmed because Orozco had chosen to have them laid out in the single space of the Galerie Sud. When visitors stepped over the line that set the alarm off, the "guards" would yell "madame" or "monsieur" from their chairs. One of the things that makes being at the Centre Pompidou so congenial and pleasurable is the non-invasive guards that are often an imposing fixture of other, lesser museums. The fact that the guards at the Pompidou are ordinarily unobtrusive worked to accentuate the Mexican police as an irritating presence rather than the imaginative element they were supposed to be.
The exhibition itself is a landscape rather than a chronological account or even a themed vision of Orozco's work. There are works on walls, tables and the floor. Set out on tressles more commonly found at flea markets than in art galleries, the objects are delicately and precisely arranged. This also made the presence of the Mexican police very irritating because the instinctive urge is to get close and to interact with the objects, to see inside the shoe box, to read the entries on the telephone directory, and to press our face up against the window of the citroen car which is being used on the publicity. But given the surveillance system in place, it was difficult to do this.
|Gabriel Orozco. (Mexican, born 1962) My Hands Are My Heart. 1991|