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1000 WORDS: GABRIEL OROZCO TALKS ABOUT HIS FILMS

In his “Six Memos for the Next Millennium,” Italo Calvino dreams about a future poetry free of traditional obsessions with the human subject, a poetry about the world itself—about color and light and the infinite variety of things. Gabriel Orozco’s photographs have often reminded me of Calvino’s vision. In these images, the objects of the world—fruit, animals, human artifacts—assume a new dignity. Similarly, the artist’s recent films (he’s made five to date with a digital video camera during long strolls in New York City and Amsterdam) comprise unexpected sequences of the happenstance connections among things. Viewing one of Orozco’s films is like taking in an enormously large exhibition of his photographs—the experience can be exhausting, but it’s also strangely rewarding.

Born in 1962 in Veracruz, Mexico, the New York–based Orozco has been included in international shows ranging from the

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