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[Gabriel Orozco: "Mirror Crit"]

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[Marian Goodman Gallery, New York City]

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Buenos dias,

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buenos dias.

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[IN SPANISH] The knife is covered with salt.

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[RESUMES IN ENGLISH] "Salt on the knife."

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I love Jell-O,

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as you can see,

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because I always put Jell-O

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in my work.

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[IN SPANISH] As you know, I am a young artist

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and there are still some things that

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I can't resolve in relation

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to the background or to the object.

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[RESUMES IN ENGLISH] So this work

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is called "New York Knicks Celebration Day".

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And this was the day that

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we were all celebrating.

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And you can see the basketball

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full with confetti.

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Since that day, I was really interested in

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the idea of covering objects--

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[IN SPANISH] Or covering the objects

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and changing their appearance

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in relation to a determined context.

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[RESUMES IN ENGLISH] --in relation to a specific
context.

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[IN SPANISH] The chair that is covered with...

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let me see because I just forgot.

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[This is not Gabriel Orozco's art]

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[It is Maximiliano Siñai's]

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The "Mirror Crit" was

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an idea I had a long ago

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when I was invited to do crits

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in universities, post-graduate,

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and go to the studios of the students

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and talk about the work.

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I somehow didn't like that too much,

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to do that.

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And also I thought I was not so useful for
students

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to do a crit: twenty minutes,

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one-to-one,

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and fifteen students in one day.

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Somehow I thought about doing all crits

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speaking myself as if I was the artist,

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and try to explain the work

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right on the spot.

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[WOMAN, OFF CAMERA] Styrofoam?

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[OROZCO] I suppose...

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it's styrofoam.

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[IN SPANISH] Let's see.

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"Cooking Salt"...

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I was trying not to have

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so much information--

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so just to have the image

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and try to talk from that.

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[IN SPANISH] Obviously this is a t-shirt with
foam-chips.

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Hung from a barbed wire, it seems

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because there is not a hook or anything.

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The background is interesting.

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They work together well like a painting.

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But I don't know if it is doing something
to explain

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what could be the use of an object like this

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or what metaphoric implications it can have.

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[RESUMES IN ENGLISH] I have this image...

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One day I have insomnia,

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and I was dreaming with sheeps in skateboards,

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crossing Fifth Avenue.

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And I was counting them all the time.

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I was very happy,

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because finally I go to sleep

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counting sheeps in skateboards.

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[IN SPANISH] And that was my kind of interpretation

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of those dreams that I had when I had insomnia.

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But finally I am more interested in keeping
with

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the idea of objects in their context

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to change them, to alter them

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although in this case, clearly, as in others

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not in all of them but in many cases

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the object that covers the skateboard

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is completely foreign to this situation.

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[RESUMES IN ENGLISH] This object...

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This material is very exotic

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for that situation.

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So there is a slightly contradictory thing
here, because...

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and that makes it more surrealistic.

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The artists were, I think, very appreciative

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because it's a different way of

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learning about your own work.

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And everything I didn't say

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probably was useful, too.

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So it's not just what I say about the work--

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it's not about my opinion;

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It's about what I miss--

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what I couldn't see in the images of the work.

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[IN SPANISH] So Max, the artist, is here.

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[RESUMES IN ENGLISH] Very good, Max.

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[ALL LAUGH]

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[MAXIMILIANO, IN SPANISH] Maybe this format
should be adopted

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in art schools.

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It is a great way to criticize a work

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when you appropriate it

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and talk about it as if it was your own

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without knowing the concept

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without knowing "why did you make it," right?

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Because many people, even me

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when I speak about my work

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I sometimes intellectualize myself

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while the work speaks for itself, right?

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[OROZCO] And if I was an older artist,

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I will call it, like,

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"Eclipse of Sound"

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or something like that.

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But I'm very young,

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and the title is,

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"Disco con arena" ["Disc with Sand"]

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[ALL LAUGH]