0:00:07.720,0:00:12.040 [Gabriel Orozco: "Mirror Crit"] 0:00:13.820,0:00:15.799 [Marian Goodman Gallery, New York City] 0:00:17.200,0:00:18.480 Buenos dias, 0:00:18.480,0:00:20.320 buenos dias. 0:00:23.300,0:00:25.760 [IN SPANISH] The knife is covered with salt. 0:00:25.760,0:00:27.800 [RESUMES IN ENGLISH] "Salt on the knife." 0:00:28.130,0:00:29.160 I love Jell-O, 0:00:29.160,0:00:29.670 as you can see, 0:00:29.670,0:00:30.880 because I always put Jell-O 0:00:30.880,0:00:31.610 in my work. 0:00:31.610,0:00:33.970 [IN SPANISH] As you know, I am a young artist 0:00:33.970,0:00:36.370 and there are still some things that 0:00:36.370,0:00:38.700 I can't resolve in relation 0:00:38.720,0:00:40.980 to the background or to the object. 0:00:41.580,0:00:43.879 [RESUMES IN ENGLISH] So this work 0:00:43.879,0:00:48.569 is called "New York Knicks Celebration Day". 0:00:48.569,0:00:50.620 And this was the day that 0:00:50.620,0:00:52.760 we were all celebrating. 0:00:52.760,0:00:53.889 And you can see the basketball 0:00:53.889,0:00:56.309 full with confetti. 0:00:59.320,0:01:02.580 Since that day, I was really interested in 0:01:02.589,0:01:04.500 the idea of covering objects-- 0:01:04.500,0:01:07.170 [IN SPANISH] Or covering the objects 0:01:07.170,0:01:09.260 and changing their appearance 0:01:09.260,0:01:11.420 in relation to a determined context. 0:01:11.420,0:01:14.020 [RESUMES IN ENGLISH] --in relation to a specific[br]context. 0:01:15.220,0:01:18.880 [IN SPANISH] The chair that is covered with... 0:01:18.880,0:01:20.900 let me see because I just forgot. 0:01:21.680,0:01:25.500 [This is not Gabriel Orozco's art] 0:01:25.500,0:01:27.680 [It is Maximiliano SiƱai's] 0:01:27.680,0:01:28.960 The "Mirror Crit" was 0:01:28.970,0:01:31.540 an idea I had a long ago 0:01:31.540,0:01:34.020 when I was invited to do crits 0:01:34.020,0:01:36.200 in universities, post-graduate, 0:01:36.200,0:01:38.560 and go to the studios of the students 0:01:38.560,0:01:40.260 and talk about the work. 0:01:40.260,0:01:42.990 I somehow didn't like that too much, 0:01:42.990,0:01:44.240 to do that. 0:01:44.240,0:01:46.760 And also I thought I was not so useful for[br]students 0:01:46.760,0:01:49.870 to do a crit: twenty minutes, 0:01:49.870,0:01:51.160 one-to-one, 0:01:51.160,0:01:53.080 and fifteen students in one day. 0:01:53.080,0:01:55.540 Somehow I thought about doing all crits 0:01:55.550,0:01:58.560 speaking myself as if I was the artist, 0:01:58.560,0:02:00.200 and try to explain the work 0:02:00.200,0:02:01.720 right on the spot. 0:02:01.720,0:02:02.760 [WOMAN, OFF CAMERA] Styrofoam? 0:02:02.760,0:02:04.240 [OROZCO] I suppose... 0:02:04.820,0:02:05.740 it's styrofoam. 0:02:05.740,0:02:06.900 [IN SPANISH] Let's see. 0:02:10.160,0:02:11.730 "Cooking Salt"... 0:02:12.750,0:02:13.590 I was trying not to have 0:02:13.590,0:02:14.720 so much information-- 0:02:14.720,0:02:15.640 so just to have the image 0:02:15.920,0:02:17.480 and try to talk from that. 0:02:18.220,0:02:22.600 [IN SPANISH] Obviously this is a t-shirt with[br]foam-chips. 0:02:25.840,0:02:29.300 Hung from a barbed wire, it seems 0:02:29.300,0:02:32.260 because there is not a hook or anything. 0:02:32.260,0:02:34.000 The background is interesting. 0:02:34.000,0:02:35.980 They work together well like a painting. 0:02:35.980,0:02:39.640 But I don't know if it is doing something[br]to explain 0:02:39.640,0:02:42.280 what could be the use of an object like this 0:02:42.290,0:02:46.569 or what metaphoric implications it can have. 0:02:47.040,0:02:49.620 [RESUMES IN ENGLISH] I have this image... 0:02:49.630,0:02:50.780 One day I have insomnia, 0:02:50.780,0:02:53.550 and I was dreaming with sheeps in skateboards, 0:02:53.550,0:02:54.500 crossing Fifth Avenue. 0:02:54.500,0:02:57.180 And I was counting them all the time. 0:02:57.180,0:02:58.110 I was very happy, 0:02:58.110,0:02:59.990 because finally I go to sleep 0:02:59.990,0:03:02.040 counting sheeps in skateboards. 0:03:02.040,0:03:06.820 [IN SPANISH] And that was my kind of interpretation 0:03:06.820,0:03:10.480 of those dreams that I had when I had insomnia. 0:03:11.420,0:03:13.380 But finally I am more interested in keeping[br]with 0:03:13.390,0:03:14.849 the idea of objects in their context 0:03:14.849,0:03:16.599 to change them, to alter them 0:03:16.599,0:03:19.540 although in this case, clearly, as in others 0:03:19.540,0:03:21.900 not in all of them but in many cases 0:03:21.900,0:03:24.240 the object that covers the skateboard 0:03:24.240,0:03:27.180 is completely foreign to this situation. 0:03:28.640,0:03:29.599 [RESUMES IN ENGLISH] This object... 0:03:29.599,0:03:31.280 This material is very exotic 0:03:31.280,0:03:32.440 for that situation. 0:03:33.260,0:03:36.940 So there is a slightly contradictory thing[br]here, because... 0:03:36.940,0:03:39.380 and that makes it more surrealistic. 0:03:42.800,0:03:46.380 The artists were, I think, very appreciative 0:03:46.410,0:03:48.599 because it's a different way of 0:03:48.599,0:03:50.999 learning about your own work. 0:03:51.640,0:03:53.140 And everything I didn't say 0:03:53.140,0:03:54.819 probably was useful, too. 0:03:54.819,0:03:56.659 So it's not just what I say about the work-- 0:03:56.660,0:03:58.380 it's not about my opinion; 0:03:58.380,0:04:00.879 It's about what I miss-- 0:04:00.879,0:04:04.379 what I couldn't see in the images of the work. 0:04:06.480,0:04:08.860 [IN SPANISH] So Max, the artist, is here. 0:04:08.860,0:04:09.960 [RESUMES IN ENGLISH] Very good, Max. 0:04:09.960,0:04:10.720 [ALL LAUGH] 0:04:12.980,0:04:15.520 [MAXIMILIANO, IN SPANISH] Maybe this format[br]should be adopted 0:04:15.520,0:04:16.940 in art schools. 0:04:18.180,0:04:20.640 It is a great way to criticize a work 0:04:20.640,0:04:22.200 when you appropriate it 0:04:22.200,0:04:23.860 and talk about it as if it was your own 0:04:23.870,0:04:25.430 without knowing the concept 0:04:25.430,0:04:28.530 without knowing "why did you make it," right? 0:04:28.530,0:04:30.130 Because many people, even me 0:04:30.130,0:04:31.780 when I speak about my work 0:04:31.780,0:04:34.199 I sometimes intellectualize myself 0:04:34.199,0:04:36.949 while the work speaks for itself, right? 0:04:36.949,0:04:41.580 [OROZCO] And if I was an older artist, 0:04:41.580,0:04:42.949 I will call it, like, 0:04:42.949,0:04:44.050 "Eclipse of Sound" 0:04:44.050,0:04:45.550 or something like that. 0:04:45.550,0:04:46.430 But I'm very young, 0:04:46.430,0:04:48.050 and the title is, 0:04:48.050,0:04:49.770 "Disco con arena" ["Disc with Sand"] 0:04:49.770,0:04:52.640 [ALL LAUGH]