Hyperallergic have a review of a fascinating and poignant exhibition from Colombian artist Oscar Muñoz, Invisibilia, that “captures the fleeting, fading sensation of trying to recall something that’s already in the past.”
Oscar Muñoz visualizes the invisible – Hyperallergic
The artist’s own face appears in a number of works. In “El juego de las probabilidades” (The Game of Probabilities) (2007), 12 color and black-and-white passport photos taken at different points in his life are cut and spliced together into new combinations. Each face represents a disorienting collapse of time, and raises questions about how much of ourselves continues or changes with time. The composite collages are photographed up close, held by the artist’s fingers, suggesting a sense of intimacy but also hinting at the smallness and randomness of our own existence.
Those woven photos reminded me of Karen Navarro a little. I wish there were some photos of this piece, though.
More faces — and conservation challenges — come with the series Pixeles (Pixels) (1999-2000), a set of portraits made with coffee on sugar cubes. This time Muñoz’s subjects are victims killed in the long-running conflict between Colombia’s military forces and insurgent rebels. When seen up close, the faces break down and the country’s key exports — coffee and sugar — come into focus. Still, Muñoz’s portraits are clearly meant to denounce not just the violence, but also our desensitization to these sorts of images that can occur as they are repeatedly shown in the news media.