Seven years later, the Tate Modern tries again and a retrospective Madrid to the sculptor Juan Muñoz, who died suddenly in 2001, fate willing, even as his works were exhibited at the Tate.
Muñoz firmly believed that the sculpture is deriving a meaning from the interaction with the environment in which they both entered the relationship with the visitor. And 'in fact that it is assigned a new role, passive and active pop-up becomes part of the installation.
The complicity between spectator and work of art is created through atmospheres that leave ample space enigma, ambiguity, and the unsettling feeling that the left is perceived in some rooms. Such as Shadow and Mouth (1996) in which two figures stand out, one of which is sitting behind a desk, the other away and turn back, turn left on the wall, as if looking through that neighborhood support and shelter. The bond that unites the two parties is ambiguous, everything you can imagine clearly is the position of power which holds the figure behind the table and discomfort, insecurity, perhaps the fear that the other axle.
Even more disturbing is, in the same room, Staring at the Sea (1997-2000) in which two figures with their faces covered by a box with two small holes for the eyes, stretching on tiptoes to look the mirror, leaning one o'clock behind the other. Curiosity that moves them, the mirror that reflects their faces hidden, the form of cardboard leaving a sense of disturbance elusive.
A further step in reshaping the role of the viewer is made in Many Times (1999), an installation that fills a whole room of young men whose faces east in groups, talking as if they were friendly with each other, expressions smiling, arms outstretched in one of the many gestures of ordinary conversation. The good-natured faces, the tiny size of the characters should be reassuring to the visitor that can tower over them. But far from it. Although rationally does not seem there is nothing left, restlessness vibrates. E 'perception of diversity and isolation that takes a Westerner when she suddenly finds herself in conflict with the other, in this case the Orientals. Echoing the words of Munoz "The Spectator Becomes very much like the object to be Looked at, and Perhaps the viewer has Become the one who is on view" . The role reversal is complete: the visitor has become an observer from the observed object, is a sense of embarrassment but it does not rationally understand why.
A specific claim is therefore present in many works of Muñoz, such as the number of dancers, only vaguely human figures but no legs. Are supported from a rounded base that allows them to swing but, paradoxically, to dance and shake that Muñoz is a sharp scissors. Or like a wooden handrail, warm and smooth, but it conceals the blade of a knife. Or even more explicit, Wax Drum , 1988, a drum unusable, because covered with wax and a pair of scissors embedded in the skin taut.
The interaction between the statues, visitors and the environment, and lived space as a theater are other recurring motifs in the work of Munoz. The pavement with a geometric pattern in The Wasteland (1987) stands out as interlocutor for the viewer that, while it is moved towards the small bronze figure of seated with their legs dangling in front of the room, the other almost does not feel authorized to violate that space expanded by the effect of the optical geometry.
Not to miss: the appalling Hanging Figures of 1997, inspired by the painting by Degas Mlle La La at the Circus Fernando , which depicts the circus acrobats hung by their teeth. Muñoz's figures, however, almost completely lose the reference to the circus to become instead a more ambiguous meaning, and more than the circus ends to remind the press of bodies during a torture.
Muñoz firmly believed that the sculpture is deriving a meaning from the interaction with the environment in which they both entered the relationship with the visitor. And 'in fact that it is assigned a new role, passive and active pop-up becomes part of the installation.
The complicity between spectator and work of art is created through atmospheres that leave ample space enigma, ambiguity, and the unsettling feeling that the left is perceived in some rooms. Such as Shadow and Mouth (1996) in which two figures stand out, one of which is sitting behind a desk, the other away and turn back, turn left on the wall, as if looking through that neighborhood support and shelter. The bond that unites the two parties is ambiguous, everything you can imagine clearly is the position of power which holds the figure behind the table and discomfort, insecurity, perhaps the fear that the other axle.
Even more disturbing is, in the same room, Staring at the Sea (1997-2000) in which two figures with their faces covered by a box with two small holes for the eyes, stretching on tiptoes to look the mirror, leaning one o'clock behind the other. Curiosity that moves them, the mirror that reflects their faces hidden, the form of cardboard leaving a sense of disturbance elusive.
A further step in reshaping the role of the viewer is made in Many Times (1999), an installation that fills a whole room of young men whose faces east in groups, talking as if they were friendly with each other, expressions smiling, arms outstretched in one of the many gestures of ordinary conversation. The good-natured faces, the tiny size of the characters should be reassuring to the visitor that can tower over them. But far from it. Although rationally does not seem there is nothing left, restlessness vibrates. E 'perception of diversity and isolation that takes a Westerner when she suddenly finds herself in conflict with the other, in this case the Orientals. Echoing the words of Munoz "The Spectator Becomes very much like the object to be Looked at, and Perhaps the viewer has Become the one who is on view" . The role reversal is complete: the visitor has become an observer from the observed object, is a sense of embarrassment but it does not rationally understand why.
A specific claim is therefore present in many works of Muñoz, such as the number of dancers, only vaguely human figures but no legs. Are supported from a rounded base that allows them to swing but, paradoxically, to dance and shake that Muñoz is a sharp scissors. Or like a wooden handrail, warm and smooth, but it conceals the blade of a knife. Or even more explicit, Wax Drum , 1988, a drum unusable, because covered with wax and a pair of scissors embedded in the skin taut.
The interaction between the statues, visitors and the environment, and lived space as a theater are other recurring motifs in the work of Munoz. The pavement with a geometric pattern in The Wasteland (1987) stands out as interlocutor for the viewer that, while it is moved towards the small bronze figure of seated with their legs dangling in front of the room, the other almost does not feel authorized to violate that space expanded by the effect of the optical geometry.
Not to miss: the appalling Hanging Figures of 1997, inspired by the painting by Degas Mlle La La at the Circus Fernando , which depicts the circus acrobats hung by their teeth. Muñoz's figures, however, almost completely lose the reference to the circus to become instead a more ambiguous meaning, and more than the circus ends to remind the press of bodies during a torture.
Tate Modern
Tube: Blackfriars Station, Mansion House
Opening
Sunday to Thursday from 10 to 18
Friday and Saturday from 10 to 22
Ticket
Adults £ 8 Concessions £ 6
, 7 pounds
Tube: Blackfriars Station, Mansion House
Opening
Sunday to Thursday from 10 to 18
Friday and Saturday from 10 to 22
Ticket
Adults £ 8 Concessions £ 6
, 7 pounds
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