In addition to fantasy and the
possible illusions created by forms, Damián
Ortega nevertheless seeks to subtly alter the
syntax or everyday objects and their
signification. He is inspired by everyday
objects, such as pick-axes, golf balls, tortillas
or bricks. He deconstructs the mechanisms by
which they are interpreted, and alters them,
revealing hidden, implicity, different and
symbolic components and creating hybrid forms. He
has taken upon himself the task of redefining our
way of reading the world.
He thus disturbs the codes of sculpture by
transforming a Mexican monument into a giant
Power Ranger (Power Rangers, 2001) or by placing
a commemorative monument on wheels (Obelisco con
rueditas, 1996). He also creates a model for
futurist sculpture (Vision Simultánea,
1991-1999) by lining up supermarket trolleys
according to the dynamics of movement. In Pico
Cansado (Tired Pick-Axe) he breaks down into
parts the idea of a sculpture as an intangible,
“heroic” material, making it a live,
physical and human one – “introducing
weakness” as he says. In this manner, he
approaches Marcel Duchamp’s proposition of
“making a sick painting”.
(…) Damián Ortega’s approach to art
consists of incursions – incursion into the
domain of the image which he disturbs, into
social behaviour which he repeatedly revisits,
and into objects which he questions again and
again. He pushes signs beyond their dimension of
“product” – a dimension always
preceding the sign in the symbolic and market
economy. A desire for irreverence continually
incites him to inscribe art into a dynamic and
transformable system.
Damián Ortega
by Angeline Scherf (Originally appeared in ARS
01, published by the Kiasma Museum of
Contemporary Art, Helsinki, 2001). |
ONE PERSON EXHIBITIONS:
2002 D'Amelio
Terras, New York
1997 Galería Art & Idea, Mexico City, Reglas
e Instintos
1991 Galería ETNIA, Mexico City, Fuerza Vivai
NEXT EXHIBITIONS:
Mexico City
Opens June 30, 2002
Group Exhibition
P.S. 1 Contemporary Art Center, Long Island City,
NY
http://www.ps1.org
Solo Exhibition
September 4 - December 15, 2002
Institute
of Contemporary Art, Philadelphia |
