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Gabriel Orozco exhibited the first of his Working Tables
in Zurich in 1996. The "tables" seemed basic enough
a simple white pedestal topped with a geometrically
balanced collection of objects. Yet, it reconfigured his
language of display. It may also, as Benjamin Buchloh
has suggested, even represent a shift in the "conditions
of object relations ir society at large." Among Orozco's
newest works is Untitled, 2008, an installation of sixty
drawings, each topped with a broken pottery fragment,
that follows the sculptural mold cast by the original
Working Tables, if only aesthetically [Marian Goodman
Gallery; May 6 June 15, 2008]. Conceptually, that
mold is shattered, the ceramic shards both literally and
figuratively alluding to this break with the past.
Orozco created Untitled in the Ecuadorian Amazon
using pigment from indigenous fruits and plants as ink
and twigs from native trees as styli. According to a short
wall text written by the artist, the drawings, made on
small pages torn from his notebook and laid out on a
table in the middle of an Ecuadorian village, began to
blow around in the wind. Village children brought
Orozco pieces of broken pottery found on the ground to
hold the drawings in place. The pottery became a part
of the work, as much a referent to the site of its creation
as the pigments and twigs used to create it. As in his
Penske Project, 1999, in which the street became his
studio, Orozco carried out the installation on locationin the Amazon and later relocated it to the gallery.
A series of photographs made on the same trip
surrounds the drawings, giving the space the distinctive
character of an antique period room-one dedicated,
however, to the not-so-distant past. And so, by including
both the apparatus of the work's original execution-the
fragments of pottery-and contextual evidence of the
environment in which it was made-the photographsCrozco shifts the installation's locus of meaning from its
physical presence in the gallery to the otherwise lost
moment of its making.

The differences between this new installation and the
Working Tables are subtle-both offer a host of objects
and are surrounded by photographs. But the recent
work clearly reflects internal relationships between
elements, which were absent from Working Tables.
Here, the objects are interrelated rather than heterogeneous; they reference a singular past event rather than
a nonhierarchical lack of temporal order; they are
informed by the surrounding photographs rather than
merely juxtaposed to them. The new work, in short, is
based on temporal rather than spatial correspondence:
together, the objects and photographs relocate the
gallery to a specific point in the artist's past.
Orozco's work has been said to expand the notion of
space within artmaking. Here, White Bubble Bowl, 2008,
a cast plaster study of spherical modulation, corrobo
rates this claim. If this work explodes a traditional
concept of contained space, Untitled does the same
with time by reconfiguring the relationship between the
moment of the art work's production and that of its viewing. Untitled exists in the present-but only to refer to
the past, rejecting the notion of chronological time in
favor of an unbounded temporal experience.
-Ryan Reineck

Sergej Jensen's Pictures and Paintingsappeared in two
parts: the first opened at Berlin's Galerie Neu in late
February, the second at Anton Kern Gallery in New York
[April 9 May 10, 2008]. In this project, Jensen enlists
the visual idiom of Arte Povera to formulate his investigation of the semantic and ontological differences
between a "picture" and a "painting"-a natural choice,
perhaps, given the assertion by Germano Celant, who
labeled the movement, that Arte Povera's aim was to
achieve the "pre-iconic," that is, to de-differentiate the
values conditioning reception and allow for a state of
unlearned viewership. Stretching, warping, and sewing
together the material constituents of his canvas, Jensen
lays bare the temporal and material contingencies that
guide reception.
While his emphasis on the physical binding of fabric
recalls Jannis Kounellis' anti-painterly handling of
burlap, Jensen's canvases present an elegant aesthetic
ambivalence, And while he makes it a point to use
industrial bleach and chlorine, Jensen never leaves
paint entirely; there is always more than mere gesture.
In fact, while Jensen uses industrial acrylics, he also
grinds tempera. And whereas, in the Berlin installation,
all the works were untitled, turned perhaps more fully
into objects, in New York, the paintings' titles-such as
Skyscraper, 2008, or Untitled (Pearls), 2008 suggest
figuration. In Ochre Eternity, 2008, the gold-speckled
application satirizes outright the reductio ad absurdom
generally demanded of a critical position.
Jensen's treatment of Arte Povera confronts its historical aestheticization, assessed by Thomas Crow as "the
degree to which we have come to live in an Arte Povera
world." In Erased No. //, 2008, Jensen works classical
tempera onto a stretch of particularly thin fabric, such
that the wooden structure of the canvas is exposed. The
result is an eerily looming cross, and a strikingly literal
nod to the transcendental implications of the canvas
and the resonance of allusion.

ABOVE, LEFT TO RIGHT Gabriel Orozco, view of exhibition, South Gattery, on the wat: Tuttitrutti, 2008, tempera on inen canvas, 78.75 x 78.75 x 1.5 inches, center: Tronco, 2008, tempera
and burnished gotd teat on wood, 35.875 x 8.25 x 5.5 inches each lcourtesy of the artist and Marian Goodman Gatlery, New York); Sergej Jensen, Skyscraper, 2008, money bags and thread,
86.75 x 67 inches (courtesy of Anton Kern Gallery, New York)

Future Anterio

Further reproduction of this article in violation of the copyright is prohibited. .COPYRIGHT INFORMATION TITLE: Gabriel Orozco: New York SOURCE: Art Pap 32 no5 S/O 2008 The magazine publisher is the copyright holder of this article and it is reproduced with permission.