February 8, 2011

Mientras Tanto En Mexico,

While poking around online about Tate Modern's version of the Gabriel Orozco retrospective, I found this rather incredible letter from 2009, written, apparently by Orozco himself, to his dealer Jose Kuri. The letter is an ostensibily-but-not-really private round in an ongoing, public, critical battle for some kind of primacy within the Mexican art world.

Orozco defends and praises his own success and innovation--to his own dealer--while slamming both other artists [cough, Santiago Sierra, Francis Alys] and their critic/curatorial champions [Cuauhtémoc Medina, who I will be adding to the greg.org art pronunciation list shortly.]

Anyway, this kind of veiled subtexts with an apparent academic impartiality and a deficient documentation, derive from a cheap historicism, where the talent of the individual to understand his/her moment, and to do the things that he feels like it and with it finding new art for life and for the work, will never be the reason for his success. If anything, it can seem incredible to those Mexicans, that a co-national has innovated and influenced other artists in the world, which, although is not mentioned -in the breakdown of the ingredients for my success-, is a measure and perhaps the main reason for the success of my work in this years. Novelty, not exoticism, is what makes fortune. And the one that makes something before the others becomes an essential reference point. Success came after the creation of something new... which was successful.
Wow, OK. I have been a diehard fan of Orozco's work for almost 20 years now; I still see him as having a formative influence on my eye, and on the whole way I see the world in relation to art. Or to his art. And maybe I just don't/can't appreciate the nationalist/politicized context in which this debate is occurring.

But I'm trying to come up with examples of other artists who aren't Julian Schnabel who take such on the record personal affront. I guess Rob Storr loves to deal out the smackdowns, too. Anyway, the Centre For The Aesthetic Revolution has the whole thing. Definitely check it out.

GABRIEL OROZCO 'THE SECRET OF HIS MIRACULOUS SUCCESS' A LETTER TO HIS GALLERIST IN DEFENSE OF SOME OF HIS CRITICS [centrefortheaestheticrevolution]

Also from the Centre For The Aesthetic Revolution, word that the Hotel Palenque has finished the renovations, and is open for business. This apparently happened some time between Robert Smithson's drunken slide lecture about it in 1972 and the arrival of the Google Street View coche.

Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

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first published: February 8, 2011.

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