A olho nu exibe toda a diversidade de materiais usados por Vik Muniz na produção de suas imagens fotográficas – açucar, diamantes, lixo, sucata, feijão, terra, entre outros. O curador buscou também destacar a aproximação entre o universo popular de Vik e o existente na cultura nordestina, “seja pela utilização de elementos do cotidiano, pela forma como os organiza ou pelas imagens que produz”.

A realização é uma parceria entre o Instituto Ricardo Brennand, Ministério da Cultura e a Nara Roesler, com produção da N+1 Arte Cultura.

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Bajo el título Photocubism [Fotocubismo], la exposición está formada por obras fotográficas que muestran la característica habilidad del artista brasileño para crear imágenes visualmente atractivas pero que al mismo tiempo abordan complejas cuestiones de percepción y fenomenología, estimulando tanto la mirada como el intelecto del espectador. Las obras incluidas en Photocubism toman como punto de partida pinturas cubistas emblemáticas de artistas pioneros del siglo XX como Picasso, Braque y Gris. Muniz somete las imágenes a una serie de manipulaciones físicas y fotográficas, para dar lugar a imágenes propias, notablemente únicas, en las que el formato, el contenido y la estructura parecen oscilar, de manera intrigante, entre el objeto de textura compleja y la reproducción fotográfica plana. De este modo, el cuerpo de trabajo expuesto en Photocubism forma parte del diálogo que Muniz mantiene desde hace tiempo con la historia del arte y la fotografía, a la vez que constituye una extensión coherente de su investigación filosófica global sobre la naturaleza estructural de la representación y de lo que podría considerarse la «lingüística» de la creación de imágenes.

Photocubism es la sexta exposición individual de Muniz en la Galería Elba Benítez y su inauguración del 12 de septiembre formó parte de Apertura Madrid Gallery Weekend, organizado por Arte_Madrid.

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Museo Universidad de Navarra presents the solo exhibition Vik Muniz: Flora Industrialis, on view October 18, 2023, through March 1, 2024.

Inspired by the engravings and drawings of the 19th century albums of Latin American flora from the Museum University of Navarra’s Collection, Flora Industrialis presents the results of Muniz’s project with the Museum’s Tender Puentes artistic residency program.

In the late 17th century, explorers were accompanied by artists and scientists who patiently and carefully recorded the findings of each trip. These sketchbooks became volumes of expeditions and treasures. Muniz used them as inspiration to create a new flora, a “Flora Industrialis” that questions our approach to reality in a technological world of various representations.

Following his work process and his constant innovative use of diverse materials as artistic elements, Muniz transforms a handful of artificial flowers into a delicate botanical catalog of his invention captured in beautifully crafted photographs. An unexpected journey through a botanical universe is born from his own creativity.

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In the pieces on view in this exhibition, from the Surfaces series, Muniz reimagines work from several Cubist artists – Maria Blanchard, Georges Braque, Juan Gris, Fernand Leger, Jean Metzinger, Pablo Picasso, and Diego Rivera – employing a layered and iterative process of collaging, photographing, and hand manipulating. The final unique pieces are a seductive combination of folds, cuts, and objects alongside their photographed counterparts, leaving the viewer the enticing task of unpacking their expectations of the surface of an artwork.

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Exhibited for the first time in the United Kingdom, FOTOCUBISMO features work from Muniz’s most recent Surfaces series, which explores concepts of perception, reality, and representation while challenging traditional notions of materiality. Muniz’s work often draws inspiration from iconic images from art history. Looking to Cubist masters such as Pablo Picasso, Juan Gris and Georges Braque, these unique works are a result of the artist’s hybrid technique of photographing handcrafted, three-dimensional elements – most notably painting and collaged components – which are reprocessed through photographic collages. Muniz’s newest works invite viewers to question and explore what lies beneath the surface, and to dissect each layer amidst the overlapping interventions.

These abstract studies compel the viewer to closely investigate the dichotomy between the physical object and its depiction, while at the same time reinventing the possibilities and questions around the construction of a photographic image. This exploration of iconic images from art history, which Muniz has repeatedly revisited throughout his career, furthers the artist’s investigations into the contradictions between visual perception, the physical world and art historical context.

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