Benjamin H. D. Buchloh


The traditional critic’s archaic impulse to offer transhistorical reflections on the aesthetic has been superseded by the necessity of understanding the geopolitical relativity (and relevance) and sociopolitical specificity of diverse and dispersed practices. Would reconsidering the validity of apparently obsolete traditions of hegemonic avant-garde sculpture in the centers from a position of cultural and economical marginality be productive? What are the possibilities of an authentically regional culture of resistance against the globalization of production and consumption? GABRIEL OROZCO’s exhibition at the Kunsthalle Zürich posed these questions and unfolded a subtle, complex network of partial answers. The preartisanal and the postindustrial coexist inevitably in his sculpture and determine the perception of the corporeal self and of social space. As Orozco’s sculptural

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