“OSCAR MUÑOZ: INVISIBILIA” EXPLORES SOCIAL AMNESIA AT THE PHOENIX ART MUSEUM
This is the first mid-career survey of Colombian artist Oscar Muñoz’s work in the United States. Although he has had large-scale retrospectives throughout Europe and Latin America, this exhibition will introduce U.S. audiences to a broad scope of his evolving practice.

Beginning with his early, stark charcoal drawings from the late 1970s and early 1980s, whose approach to light and shade continued to impact Muñoz’s aesthetic in later photographic and video works, the exhibition will also include approximately 50 exemplary works from his most evocative series created during the late 1980s, 1990s, and 2000s to the present day, including site-specific work, to trace the evolution of his practice.
Since the early 1990s, Muñoz has consistently explored the elusive phenomena of memory and time by lending them visible form, but often only fleetingly—just as we, too, are prone to forgetting. In doing so, he has reinvented the medium of photography, creating hybrid works that splice photographic processes with drawing, printmaking, installation, video, and sculpture, as well as interactive works. This is why, despite being awarded the 2018 Hasselblad Foundation International Award in Photography, Muñoz is not truly a photographer.
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Oscar Muñoz, Doméstico (Domestic), 2013-2016. Eight carved marble picture frames on marble base (Ocho portarretratos de mármol tallados sobre base de mármol). Jorge M. Pérez Collection, Miami. Image courtesy of the artist and mor Charpentier, Paris.
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Oscar Muñoz, Doméstico (Domestic), 2013-2016. Eight carved marble picture frames on marble base (Ocho portarretratos de mármol tallados sobre base de mármol). Jorge M. Pérez Collection, Miami. Image courtesy of the artist and mor Charpentier, Paris.
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Oscar Muñoz, Línea del destino (Line of Destiny), 2006 [still]. Single channel video without sound (Video monocanal, sin sonido), 2 min. Denver Art Museum: Gift of Polly and Mark Addison, 2011.298.1-2. Image courtesy of the artist.
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Oscar Muñoz, El juego de las probabilidades (The Game of Probabilities), 2007. 12 color photographs (12 fotografías en color). Collection of Cecilia and Ernesto Poma, courtesy of Sicardi | Ayers | Bacino. Image courtesy of the artist.
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Installation view of Oscar Muñoz: Invisibilia, 2021, Phoenix Art Museum. Image © Phoenix Art Museum
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Installation view of Oscar Muñoz: Invisibilia, 2021, Phoenix Art Museum. Image © Phoenix Art Museum
Rather than respecting chronology, the exhibition’s structure presents a practice in flux, an artist continuously experimenting with new artistic means as he seeks to define and refine his philosophies by deconstructing the photographic medium. Through Invisibilia, students and visitors of all ages will enjoy active opportunities to engage with themes of history, identity, and social amnesia. Developed in close collaboration with the artist himself, this exhibition encompasses the poetics, the politics, and the philosophical underpinnings of the unstable imagery Muñoz has created, which, nevertheless, becomes indelible in our imaginations.
Born in Popayán, Colombia, Oscar Muñoz (b. 1951) studied art at the Escuela de Bellas Artes in Cali in the 1970s. As an art student, he began by making drawings based on photographic images, and although his studies did not specifically include photography or audiovisual media, his independent explorations of these media became central to his artistic practice. Known for his use of ephemeral materials in poetic reflections upon memory and mortality, Muñoz often bridges the media of film, video, photography, installation, and sculpture.
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Oscar Muñoz, Re/Trato (Portrait/I Try Again), 2004 [stills]. Singlechannel video projection without sound (Video monocanal, sin sonido), 28 min. The Museum of Contemporary Art, Los Angeles, Purchase with funds provided by the Jumex Fund for Contemporary Latin American Art. Image courtesy of the artist.
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Oscar Muñoz, Re/Trato (Portrait/I Try Again), 2004 [stills]. Singlechannel video projection without sound (Video monocanal, sin sonido), 28 min. The Museum of Contemporary Art, Los Angeles, Purchase with funds provided by the Jumex Fund for Contemporary Latin American Art. Image courtesy of the artist.
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Oscar Muñoz, Aliento (Breath), 1995. Serigraph on steel disks (Serigrafía sobre discos de acero). Collection of the artist. Image courtesy of the artist.
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Oscar Muñoz, 4x3, 2013-2017 [detail]. Photographic remains mounted on 640g Fabriano paper (Restos fotográficos montados sobre papel Fabriano 640g). Collection of the artist. Image courtesy of the artist.
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Oscar Muñoz, Sin título, de la serie Interiores (Untitled, From the Interiors Series), 1977. Black chalk on paper (Tiza negra sobre papel). Collection of the Blanton Museum of Art. Image courtesy of the Blanton Museum of Art.
His work has been shown in numerous international solo and group exhibitions, including those at Museo de Arte Contemporáneo de Monterrey (MARCO), Mexico; Jeu de Paume, Paris, France; Museo de Arte Moderno La Tertulia, Cali, Colombia; Museo de Arte de Lima (MALI), Lima, Peru; Museo de Arte Latinoamericano de Buenos Aires (MALBA), Buenos Aires, Argentina; Museo de Arte del Banco de la República – Biblioteca Luis Ángel Arango, Bogotá, Colombia; and High Line Art, New York, NY. Muñoz’s works are in numerous private and public collections around the world, including those at the Blanton Museum of Art, Austin, TX; Biblioteca Luis Ángel Arango, Bogotá, Colombia; Daros Latinamerica Collection, Zürich, Switzerland; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum (LACMA), Los Angeles, CA; Museo de Arte Moderno de Bogotá, Colombia; Museo del Barrio, New York, NY; Museum of Contemporary Art (MoCA), Los Angeles, CA; Museum of Fine Arts, Houston (MFAH), Houston, TX; Museum of Modern Art (MoMA), New York, NY; Pérez Art Museum Miami, Miami, FL.; San Francisco Museum of Modern Art (SFMoMA), San Francisco, CA; and Tate Modern, London, UK, among many others.
Oscar Muñoz: Invisibilia
Until January 2022
Phoenix Art Museum - Katz Wing for Modern Art
1625 North Central Ave. Phoenix, AZ
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Olga de Amaral has pioneered her own visual language within the fiber arts movement. Her radical experimentation with color, form, material, composition, and space transforms weaving from a flat design element into an architectural component that defies the confines of any genre or medium.
“OLGA DE AMARAL: TO WEAVE A ROCK” AT THE HOUSTON MUSEUM
Olga de Amaral has pioneered her own visual language within the fiber arts movement. Her radical experimentation with color, form, material, composition, and space transforms weaving from a flat design element into an architectural component that defies the confines of any genre or medium.

This Must Be the Place: Latin American Artists in New York, 1965–1975 is a group exhibition that explores the artworks, performances, and experimental practices of this generation of artists, as well as their involvement in the local art scene. Diversifying the city’s artistic life, these artists helped shape New York into the global art center it is today. The artworks presented in this exhibition are central to understanding the social and political landscape in the Americas and the tensions and bridges between north and south, exploring issues of migration, identity, politics, exile, and nostalgia.
LATIN AMERICAN ARTISTS IN NEW YORK – AMERICAS SOCIETY’S EXHIBITION
This Must Be the Place: Latin American Artists in New York, 1965–1975 is a group exhibition that explores the artworks, performances, and experimental practices of this generation of artists, as well as their involvement in the local art scene. Diversifying the city’s artistic life, these artists helped shape New York into the global art center it is today. The artworks presented in this exhibition are central to understanding the social and political landscape in the Americas and the tensions and bridges between north and south, exploring issues of migration, identity, politics, exile, and nostalgia.

ARTIFACTS is a project curated by researchers Barbara Krulik (US/NL) and Mildred Durán (CO/FR) that revolves around the ubiquity of information and data, and our relationship with them in the contemporary world. It was the winner of the Santa Fe Gallery Network Grant 2021 - Continuous Programming.
CASA HOFFMANN EXHIBITS ARTIFACTS, A PROJECT ABOUT PRIVACY AND TECHNOLOGY
ARTIFACTS is a project curated by researchers Barbara Krulik (US/NL) and Mildred Durán (CO/FR) that revolves around the ubiquity of information and data, and our relationship with them in the contemporary world. It was the winner of the Santa Fe Gallery Network Grant 2021 - Continuous Programming.

The memorial of the Cuban artist Arturo Cuenca Sigarreta (1955-2021), held on the same September 21 as his birth, in the American Museum of the Cuban Diaspora, was a symbolic event, surely the first of many that, after his early death, will finally allow the artistic institutions to recognize the visionary character in the work of this unruly and complex creator, who, like few others, embodied a way of criticizing power, both institutional and political, that did not compromise with convenience.
ARTURO CUENCA MEMORIAL AT THE AMERICAN MUSEUM OF THE CUBAN DIASPORA
The memorial of the Cuban artist Arturo Cuenca Sigarreta (1955-2021), held on the same September 21 as his birth, in the American Museum of the Cuban Diaspora, was a symbolic event, surely the first of many that, after his early death, will finally allow the artistic institutions to recognize the visionary character in the work of this unruly and complex creator, who, like few others, embodied a way of criticizing power, both institutional and political, that did not compromise with convenience.

Voluspa Jarpa’s Syndemic is the winner of the inaugural edition of the Julius Baer Art Prize for Latin American Female Artists, a new biennial award initiated by Julius Baer and The Museum of Modern Art of Bogotá – MAMBO. It is the first of its kind to be held in Latin America, and its mission is to honor the research of outstanding Latin American female artists. Syndemic is a site-specific multimedia project that involves photos, archival documents, videos, maps, sculptures, objects, installation, wallpapers, and lasers that project beyond the Museum’s physical space into the surrounding environment. The term “Syndemic”, from the medical field, is Voluspa Jarpa’s metaphor to analyze the violent social riots that occurred from October 2019 to March 2020 in Chile.
SYNDEMIA - VOLUSPA JARPA’S PROJECT ON VIOLENCE AND RESISTANCE
Voluspa Jarpa’s Syndemic is the winner of the inaugural edition of the Julius Baer Art Prize for Latin American Female Artists, a new biennial award initiated by Julius Baer and The Museum of Modern Art of Bogotá – MAMBO. It is the first of its kind to be held in Latin America, and its mission is to honor the research of outstanding Latin American female artists. Syndemic is a site-specific multimedia project that involves photos, archival documents, videos, maps, sculptures, objects, installation, wallpapers, and lasers that project beyond the Museum’s physical space into the surrounding environment. The term “Syndemic”, from the medical field, is Voluspa Jarpa’s metaphor to analyze the violent social riots that occurred from October 2019 to March 2020 in Chile.

Es Baluard Museu d'Art Contemporani de Palma exhibits “The Archive of Dust: An Ongoing Project”, an exhaustive overview of the fundamental lines that characterize Elena del Rivero’s (Valencia, 1949) work gravitating around the attacks of the World Trade Center on September 11th, 2001, in New York. The project deals with loss, the collective memory and pain, as well as with the construction of the existential pillars that make up the beliefs and values of society to rethink the future.
FROM TRAGIC ARCHIVES, CONTEMPORARY ART
Es Baluard Museu d'Art Contemporani de Palma exhibits “The Archive of Dust: An Ongoing Project”, an exhaustive overview of the fundamental lines that characterize Elena del Rivero’s (Valencia, 1949) work gravitating around the attacks of the World Trade Center on September 11th, 2001, in New York. The project deals with loss, the collective memory and pain, as well as with the construction of the existential pillars that make up the beliefs and values of society to rethink the future.