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that are revealed are of deceased people whose pictures were taken from newspaper obituaries, which Muñoz had collected over the years (many of whom had died due to political violence in
Colombia at the time). The central idea that Muñoz wanted to explore and express in this work was that of memory - how it can never be made permanent, despite our best efforts to hold onto it - as well as the relationship between life and death. Muñoz explained this concept in an interview, saying that: "In the mechanism of breathing, there is a relationship with the other and with oneself: when you mist up the image with your breath, your image is erased, you no longer exist, and it is somebody else. But you cannot continue to exhale in order to sustain the other person, you need to inhale. So that, at the moment in which you stop exhaling and inhale again, the other person disappears and you reappear in the mirror. There is the confrontation between one's own life and that of another..." Through these ephemeral moments, the reflected image disappears, and reveals the fleeting image of someone who has already disappeared, who returns as a result of the breath of life given to them by the viewer. This work was further analyzed in the article, "Assisted Breathing: Developing Embodied Exposure in Oscar Muñoz's 'Aliento.'"
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violence on a daily basis. He connects this exploration of ongoing violence in
Colombia to the idea of memory, attempting to understand how the continued violence in Colombia has affected the memories of society. Muñoz believes that in a country which has suffered through the existence of violence and wars for decades - and has become all that people have ever known in some cases - memory can become contaminated and confusing. He stated that the particularities of memory can become confused, obscured, and unresolved, and that it becomes difficult to establish distinct moments from Colombia's past and relate them to the present, because everything seems to run together in a continuing narrative of violence. Muñoz's work is a response to a process that has to do with his life and his environment; according to him, "it is my way of trying to understand this malaise."
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were abandoned by the important families, and the rooms were subsequently rented out to other rural families during a time of extreme overcrowding. Muñoz employed the use of photographic documentation in order to create these works. In these drawings, Muñoz hoped to introduce and convey the social and urban issues as well as changes that were happening as a result of the extreme urban expansion taking place in the city. Through these works he also attempted to re-contextualize and assimilate an international artistic tendency of that time period to one that fit
Colombia. His drawings were first displayed in the Ciudad Solar (a groundbreaking new alternative art space in Cali), and it was through these pictures that Muñoz first began to receive attention for his work.
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charcoal dust settles on the surface of the water, and floats precariously "in an imminent process of change and destruction." As the water begins to evaporate, the process of transformation begins. The image is continuously distorted as the water levels go down, and is also exposed to the circumstances of the environment in which it is in (climate, humidity, and other variables) that could alter the image's outcome. Eventually, once all of the water has evaporated, the charcoal dust settles onto paper that has been placed at the bottom of the tray and the image becomes fixed onto the paper. Muñoz states that there are three moments in the process of the
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Because the portrait never takes on a definite form, the viewer is forced to try to remember and reconstruct the image in their mind, and so they are only able to take away an idea of it. This idea can change in the mind of the viewer, since it doesn't have a strong or permanent structure. Muñoz explained in an interview something he particularly liked about this work, which was that "the idea that something that generally functions with the ephemeral, with the temporal, with the instant, can have a lasting effect, like an intense emotional experience, that transcends the actual experience of the work." This work was eventually expanded upon to become
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289:(Solar City) - a new alternative art space, which was considered to be one of the first of its kind to exist in Colombia, and was also a major milestone in the history of the arts in Cali. The artistic style in Muñoz's earliest works (which were presented in this space) was heavily influenced by what was going on internationally in the art scene, and as a result his works were concerned with photorealism and hyper-realism. In addition, the social and political issues in Colombia provided him with a subject for his art.
272:, Colombia. His family was a middle-class family with a strong inclination towards the arts, and his parents encouraged the artistic practices of their children. As a child, Muñoz was attracted to drawing, and considered it one of his favorite pastimes. He began taking classes at the Academia de Bellas Artes (Fine Arts Academy) in Cali (a school of visual arts, ballet, and theater) when he was still in high school, and the year after he finished high school he completed the visual arts study program (early 1970s).
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career progressed, he began to focus more on the theme of reflection in his works, and so he saw photography as a way to further this idea of reflection, as well as to explore the relationships between illusion, truth, and reality - a theme which is continued in his artworks today. Even in his recent works he continues to use charcoal and photography, but he has also introduced new materials such as glass, mirrors, and audiovisual media, as well as other ephemeral materials.
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curtains, Muñoz used an airbrush and silkscreen to stain the curtains. This technique was meant to make it unclear to the spectator whether or not there was actually someone standing behind the curtain. The main idea Muñoz hoped to explore in this piece was the relationship between illusion and truth, and illusion and reality. His hope was that through this installation piece, spectators would be invited to join in and reflect on this idea as well.
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This series consists of seven small oval mirrors screen printed with grease installed at eye level for viewers. At first the mirrors appear to be normal mirrors, but if the viewer moves closer to breathe on them, an image of another person is revealed in the vapor of the viewer's breath. The pictures
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creation: when the dust touches the water and first becomes an image, when it goes through the process of change during evaporation, and finally when the dust settles on the bottom of the tray and becomes a fixed image. Each of these moments are meant to represent the processes of creation, life, and
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Muñoz continues to explore the theme of violence in
Colombia through his current works. He stated that his art endeavors to understand the mechanisms developed by a society that has suffered a routinization of war; a society whose past, present, and most likely future, will continue to be filled with
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During the early 1970s, Colombia experienced a massive urban expansion due to rural dwellers migrating to the cities. The mass movement of people resulted in the emergence of slums in order to accommodate the large influx of people. This urban phenomena taking place in
Colombia drew Muñoz's interest,
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In his earliest works, he used charcoal and photography to create pieces that were focused on recreating what he saw in the social conditions around him. He saw photography as a way to add a documentary element to his drawings, and to explore elements such as light, shadow, and other details. As his
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an aerial photograph of Cali printed on a sheet of shattered glass, which viewers can walk on, looking down on the city. As the viewers walk over the photograph, the glass continues to crack under their feet, bringing in the senses of sound and touch. Muñoz explained that this work was inspired by a
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drawings were some of the earliest works Muñoz produced. These hyper-realistic charcoal drawings depicted several large mansions originally inhabited by important families on the Main Plaza of the downtown area of Cali, Colombia. During the major urban expansion in Cali in the 1970s, these mansions
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In addition to the rapid urban growth taking place throughout
Colombia, there was also an important creative movement taking place in the city of Cali during this time. In an interview, Muñoz explained it as a time of "extensive cultural activity and creativity, ruptures, and exploration for new
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In this work, a video is played which shows a hand using water to paint a portrait onto hot cement, however, the water continually evaporates before the portrait can be completed. This work plays on Muñoz's impulse to keep memory alive, and the frustration that can come along with that attempt.
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was an installation piece consisting of several bathroom curtains placed side-by-side. On each curtain an silhouette of a body is portrayed in different poses, making it look as if someone is standing behind the curtain and taking a shower. In order to get the images transferred onto the shower
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bombing that had taken place in Cali during the violence of the 1980s and 1990s. After the bomb had exploded, Muñoz was able to walk through the city and in the process became fascinated by the fragments of glass he saw scattered everywhere, some of which had become encrusted into the pavement.
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series is a work that has been spanning over more than 15 years. To create these pieces, Muñoz uses a screen printing technique, whereby he transfers a picture of himself onto a silkscreen; this screen is then placed over a tray filled with water, and charcoal is sifted through the screen. The
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In 2006, Muñoz founded a cultural center and art residency program in Cali, Colombia called Lugar a Dudas (Space for Doubts). This art center has become a place for young artists to gather in order to work through ideas, as well as to participate in a dialogue and public debate about art and
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visual artist. He is known as one of the most significant contemporary visual artists in his country, and his work has also gained international recognition. Most of his art is concerned with the idea of representation, and his choice of art medium moves freely between photography
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focused on the social issues and changes taking place in urban life as a result of the recent urban growth. This first series of his was exhibited in the Ciudad Solar, and it was through this exhibition that he first began to gain attention for his work.
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This series marked a turning point in Muñoz's career. Up until this point his works had consisted primarily of hyper-realistic charcoal drawings and photographs, so this marked the beginning of exploring the use of new materials in his art.
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Later on in the 1980s and 1990s, Colombia was plagued by wars between feuding drug cartels and the
Colombian government, which acted as inspiration for several of Muñoz's pieces during this time. One such piece that came out of this was
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eventual death. In addition to this theme, Muñoz also explores the idea of the self-portrait - how his image becomes the image of the viewer, and how the viewer can recognize a part of themselves in the image of Muñoz.
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possibilities in all areas." He believed it was a dynamic and promising moment for Cali, and through it, he found a platform on which to present his work.
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The Visual Arts Center of
Richmond, VA, USA; Southeastern Center for Contemporary Art, Winston-Salem, NC, USA; La Galerie de I'UQAM, Montreal, Canada;
622:, Albuquerque, NM, USA; Fundaçāo Joaquim Nabuco, Recife, Brazil; The Mandes & Arts Festival, Johan Deumens Gallery, Haarlem, The Netherlands;
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Galería Santa Fe, Planetario
Distrita, Bogotá, Colombia; Iturralde Gallery, Los Angeles, CA, USA; Feria de Video Arte, LOOP Barcelona, Spain
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656:(MALBA), Buenos Aires, Argentina; Museo de Arte del Banco de la República - Biblioteca Luis Ángel Arango, Bogotá, Colombia
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Graham, Amanda Jane (May 2002). "Assisted
Breathing: Developing Embodied Exposure in Oscar Muñoz's "Aliento"".
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773:. Herzog, Hans-Michael, 1956-, Ospina, Nadin, 1960-. Zürich, Switzerland: Daros-Latinamerica. 2004.
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Museo de Arte Moderno la Tertulia, Cali, Colombia; Sala Suramericana de Seguros, Medallin, Colombia
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República, Banco de la; Arango, Biblioteca Virtual Biblioteca Luis Ángel; Erika, Martínez Cuervo.
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Museo de Arte Moderno La Tertulia, Bogota, Colombia; Galeria Garcis Velasquez, Bogotá, Colombia
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Cantos cuentos colombianos : arte colombiano contemporáneo = contemporary Colombian art
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Muñoz's career began in the 1970s, with his first art exhibition being held in 1971 in
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Photorealism, installation art, graphite drawing, video, printmaking, sculpture
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973:"Oscar Muñoz es converteix en el primer artista a rebre el premi Hasselblad"
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installation art/photograph transferred to curtain using acrylics, 1985–1989
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Centro MEC, Ministerio de Educacion y Cultura, Montevideo, Uruguay
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from the article and its talk page, especially if potentially
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Tabacalera, Promocíon del Arte, ARCO Madrid, Madrid Spain
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Claustro del Convento de Santa Clara, Cartagena, Colombia
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Galeria Santa Fe, Planetario Distrital, Bogota, Colombia
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screen print on water, first exhibited in 1995 (ongoing)
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Museo Extremeño e Iberoamericano de Arte Contemporáneo
869:"Óscar Muñoz - Cortinas de baño | banrepcultural.org"
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Prince Claus Fund Gallery, Amsterdam, the Netherlands
456:, which was presented to the public sphere in 2005.
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University of South Florida Contemporary Art Museum
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454:Proyecto para un Memorial (Project for a Memorial)
340:, New York, including "Untitled" from the series
336:Muñoz has several works in the collection of the
528:FotoFest 2004, Sicardi Gallery, Houston, TX, USA
194:The Academia de Bellas Artes (Fine Arts Academy)
465:1971: Ciudad Solar (Solar City), Cali, Colombia
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654:Museo de Arte Latinoamericano de Buenos Aires
352:(2007) a series of chromogenic color prints.
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397:Narcisos en proceso (Narcissi in process),
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63:about living persons that is unsourced or
134:Learn how and when to remove this message
955:"XL: 19 New Acquisitions in Photography"
844:"Oscar Muñoz - Reviews - Art in America"
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500:Iturralde Gallery, Los Angeles, CA, USA
491:Narcisos (Narcissus), Aliento (Breath),
348:) (1996) a screenprint on acrylic, and
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581:Institute of International Visual Arts
281:Social and political influences on art
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435:installation art - mirrors, 1995–2002
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603:Prefix Institute of Contemporary Art
577:Perth Institute of Contemporary Arts
620:University of New Mexico Art Museum
380:Cortinas de Baño (Shower Curtains),
319:Use of different mediums in artwork
900:"Imprints for a Fleeting Memorial"
663:(May 10, 2013 – January 6, 2014),
610:Ambulatorio (Draw Down the Walls),
14:
698:Sicardi Gallery, Houston, TX, USA
696:El Coleccionista (The Collector),
599:Imprints for a Fleeting Memorial,
514:Sicardi Gallery, Houston, TX, USA
661:New Acquisitions in Photography,
567:University of Wyoming Art Museum
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628:Art Gallery of New South Wales
540:Disolvencias y Fantasmagorías,
447:video of water on cement, 2004
356:Selected artworks and analysis
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583:, Rivington Place, London, UK
907:Working States: Philagrafika
848:www.artinamericamagazine.com
650:Biblioteca Luis Angel Arango
364:charcoal drawings, 1971–1972
41:biography of a living person
21:Oscar Munoz (disambiguation)
929:Latin American Perspectives
710:Hasselblad Foundation Award
635:Protografías (Photographs),
168:1951 (age 72–73)
68:must be removed immediately
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594:, Sala Goya, Madrid, Spain
590:PHotoEspaña 2010 / PHE10,
533:Proyecto para un memorial,
412:Metropolitan Museum of Art
260:Muñoz was born in 1951 in
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617:Biografias (Biographies),
612:Belfast, Northern Ireland
554:Documentos de la Amnesia,
547:Biografías (Biographies),
445:Re/trato (Self-Portrait),
362:Inquilinatos (Tenements),
350:The Game of Probabilities
295:Inquilinatos (Tenements),
293:and so his first series,
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83:"Oscar Muñoz" artist
941:10.1177/0094582X11431807
898:Roca, José (July 2007).
256:Early life and education
1386:Colombian photographers
672:portrait(self)portrait,
592:Círculo de Belles Artes
1219:Bernd and Hilla Becher
873:www.banrepcultural.org
801:: CS1 maint: others (
477:Superficies al Carbón,
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55:Please help by adding
1071:Henri Cartier-Bresson
642:Museo de Arte de Lima
526:Ambulatorio-Re/trato,
484:Narcisos (Narcissus),
406:
1077:Manuel Álvarez Bravo
1008:Museum of Modern Art
959:Museum of Modern Art
821:Museum of Modern Art
817:"Oscar Muñoz | MoMA"
665:Museum of Modern Art
652:, Bogotá, Colombia;
644:(MALI), Lima, Peru;
579:, Perth, Australia;
521:San José, Costa Rica
512:The Ends of Process,
338:Museum of Modern Art
248:, graphite drawing,
61:Contentious material
19:For other uses, see
328:Major contributions
1166:Christer Strömholm
646:Museo de Antioquia
626:, Manchester, UK;
569:, Laramie, WY, USA
498:Transfiguraciones,
470:La Tertulia Museum
433:Aliento, (Breath),
416:
1381:Colombian artists
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1296:Wolfgang Tillmans
1243:Graciela Iturbide
1172:William Eggleston
1107:Sebastião Salgado
1043:Laureates of the
605:, Toronto, Canada
235:(born 1951) is a
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207:Years active
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44:needs additional
16:Colombian painter
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1349:Carrie Mae Weems
1284:Joan Fontcuberta
1201:Hiroshi Sugimoto
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460:Solo exhibitions
250:installation art
226:Contemporary Art
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1337:Alfredo Jaar
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1302:Stan Douglas
1266:Sophie Calle
1249:Robert Adams
1160:Robert Frank
1142:Sune Jonsson
984:. Retrieved
982:(in Catalan)
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935:(3): 63–73.
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911:the original
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877:. Retrieved
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1371:1951 births
1314:Oscar Muñoz
1278:Paul Graham
1083:Irving Penn
1065:Ansel Adams
1004:Oscar Muñoz
679:Atramentos,
659:2013–2014:
633:2012–2014:
624:Cornerhouse
615:2006–2014:
597:2008–2012:
572:2008–2009:
246:printmaking
233:Oscar Muñoz
183:Nationality
150:Oscar Muñoz
1365:Categories
1272:Walid Raad
1237:Nan Goldin
1089:Ernst Haas
986:2018-03-09
879:2017-11-21
853:2017-11-21
826:2016-10-27
780:3775714839
716:References
667:, New York
519:TEORéTICA,
333:politics.
199:Occupation
124:March 2018
94:newspapers
1207:Jeff Wall
797:cite book
237:Colombian
191:Education
186:Colombian
46:citations
789:57066593
505:Eclipse,
425:Narcisos
420:Narcisos
408:Narcisos
266:Colombia
223:Movement
176:Colombia
72:libelous
961:. 2013.
414:in 2022
262:Popayán
172:Popayán
108:scholar
1351:(2023)
1345:(2022)
1339:(2020)
1322:(2019)
1316:(2018)
1310:(2017)
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787:
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708:2018:
703:Awards
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489:1998:
482:1995:
475:1990:
468:1985:
276:Career
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1330:2020s
1259:2010s
1188:2000s
1117:1990s
1052:1980s
914:(PDF)
903:(PDF)
115:JSTOR
101:books
39:This
980:.cat
803:link
785:OCLC
775:ISBN
418:The
370:The
270:Cali
165:Born
87:news
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