MADRID.- The exhibition Juan Muñoz. Stories of Art presents a journey through the work of one of the most unique sculptors in contemporary art; an artist whose practice was marked by illusionism, theatricality and architecture as a space of fiction. Influenced by Borromini, Bernini, Velázquez and Goya, Muñoz created settings in which the viewer becomes an actor, witness and protagonist of scenes charged with psychological tension and mystery.
Born in Madrid in 1953, where he always had his studio, Juan Muñoz is inseparable from his native city and within it from the Museo del Prado, which he visited throughout his life and which was a constant source of inspiration. This exhibition reveals the connection between a contemporary artist and the history of art, which Muñoz studied with passionate interest and in a transversal manner from a young age. His visits to the Prado made him a fervent admirer of the great masters, whose lessons he irreverently combined, stating: “I can take from previous artists whatever I want and whatever I need… I have no problem admitting that the Dama de Baza is as important to my work as a neon tube: I steal everything I can from the history of art.”
A sculptor conceptually nourished by painting, Muñoz acknowledged his intention to incorporate its illusionistic elements into his work. From the Renaissance artists he adopted one of their principal concerns: how to position the viewer in relation to the work as a whole, "in relation to the moment of creation, of wonder." Particularly inspired by Mannerism and the Baroque, he experimented with the distortion of forms, the manipulation of space, and the tension between viewer and object. From Borromini and Bernini he learned to conceive of architecture as a theatrical framework, capable of provoking both belief and disorientation: "I think the great Baroque artists were asked to do the same as modern artists: to construct a fictional place. To make the world larger than it is."
Enigmatic, life-size figures appear throughout his work, positioned in relation to one another in intimate settings or wandering about in groups. The viewer encounters them frozen in mysterious actions or with their mouths slightly open, as if struck dumb mid-sentence. Muñoz's avatars evoke classical Greek sculpture while simultaneously engaging in a dialogue with Borges and Beckett’s absurdist and existentialist texts.
In the mid-1980s Muñoz began to include optical floors in his installations which are reminiscent of Borromini's but also of Minimalist structures in the manner of Carl Andre, designed to be walked across. He continued to use architecture as an integral part of his work, creating dramatic environments that envelop the viewer.
Works such as The Prompter and The Nature of Visual Illusion allude to the theatrical devices of the Baroque period, turning the visitor into both actor and witness.
Another recurring motif in Muñoz’s work is the balcony, evoking those depicted by both Manet and Goya, as well as the wrought-iron ones typical of Madrid. For the artist, the balcony was "a metaphor for looking at that which looks at you", a setting for mutual observation.
Influenced by Giacometti, the Conversation Pieces which Muñoz created throughout his career were conceived in a non-naturalistic manner, stripped of recognisable associations in order to construct compositions of intense psychological charge.
Initiated in 1991, these groups of figures with identical faces and individual gestures seem to converse with each other and invite the viewer to become part of the scene, but ultimately reject our entry and oblige us to experience our own presence in the space.
Echoes of Velázquez and Goya resonate throughout Muñoz’s work, from the mirrors that involve the viewer - as in Five Seated Figures, evoking Las Meninas - to the scenes of silent absurdity reminiscent of Goya’s Los Caprichos and The Disasters of War, dramatising that fine line between laughter and suffering that so fascinated Muñoz and which he learned from that artist.
Despite his profound commitment to art history, Juan Muñoz was an innovator who transcended the aesthetics of his time. A creator of sculptures, installations, drawings, writings and sound works, he considered himself a storyteller whose narratives ask us to suspend our disbelief and enter into his Baroque illusionism.
Born in Madrid, where he always had his studio, Juan Muñoz (1953–2001) is inseparable from his city and within it from the Museo del Prado, which he visited throughout his life and which was a constant source of inspiration. This exhibition reveals the connection between a contemporary artist and the history of art, which Muñoz studied with passion and without any established order from a very young age. His constant visits to the Prado made him an admirer of the great masters, whose lessons he irreverently combined, declaring: “I can take from previous artists whatever I want and whatever I need... I have no problem acknowledging that the Dama de Baza is as important to my work as a neon tube: I steal everything I can from the history of art.”
Conceptually, Muñoz’s sculpture was enriched by painting, and he admitted his intention that his work preserve its illusionistic elements. From the Renaissance artists he adopted one of their principal concerns: how to position the viewer in relation to the totality of the work, “in relation to the moment of creation of wonder.” Particularly inspired by Mannerism and the Baroque, Muñoz’s work is based on experimentation with the forms and volumes of figures, unusual spatial relationships, and the sensation of tension. Attracted by Bernini and Borromini, he employed architecture as a resource capable of offering a theatrical frame of reference: “I think the great Baroque artists were asked to do the same thing as modern artists: to construct a fictitious place. To make the world larger than it is.” Despite this profound engagement with art history, Muñoz was a great innovator who transcended the aesthetic of his time. The echoes of the masters he most admired, especially Velázquez and Goya, resound throughout his entire body of work. For the artist, the present must necessarily relate to the past; new art must teach us something about its tradition. Creator of sculptures, installations, drawings, writings and sound works, Muñoz considered himself a storyteller, a narrator whose tales were told through works filled with silent suggestions, in which he made full play of perplexity while invoking the entire history of art.
