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MEIAC Documents amnesia. Oscar Muñoz in Film

The first solo exhibition in Spain Óscar Muñoz "Documents amnesia" is a set of 9 works with different techniques, video, photography, pyrography, etc.. In addition, on the fourth floor of the museum has a panopticon volved or camera obscura twenty circular screens showing footage of Badajoz in real time, but reversed, using the box technique of photography. Other rooms displayed videos of the ongoing process of construction-destruction of the image. Honestly, we strongly recommend the Colombian artist's exhibition Cali.

Some of the most representative works by Oscar Muñoz over the last fifteen or twenty years, met for the first time for the presentation in Spain of this artist born in Popayan in 1951 and an outstanding representative of Latin American art in the Venice Biennale 2005. Daffodils (1994), Breath (1997), Lacrimarios 2000/01), Biographies (2002), Portrait (2003), Project for a Memorial (2004/05), or intervals (2004/06) articulate a reflection that explores the conditions of perception and memory and displays their different interests into the areas of image reproduction and anthropological problems, aesthetic and conceptual that these images evoke and inspire.

Overall the artistic experience of Oscar Munoz revolves around the processes of entropy to both photography and digital files are submitted and in relation to the fragility of memory explores themes of narcissism , the anonymity and anomie. The various metaphors and poetic elements that distinguish his work place in a deep meditative space existential conflict, but also tend to be deployed as a way of sharing with others the excitement of the fragility, pain, or loss and in that sense give encouragement in their work to a meditation on the fleeting nature of life and the passage of time becomes valid and universal.

time effect is a basic mechanism in the functioning of the work of Oscar Munoz, and not only because it connects with the structure and modes of memory, but mainly because his work is incorporated into a gestation of the images that runs parallel to the way we perceive. The use of materials such as water, air (breathing), light and dust, associated with more diverse media (drawing, photography, video, installations and sculptures), serve the artist to document the nature ephemeral representation understood as traces of life, revealing the extreme fragility of our apprehension of reality, or suggest the need to report to the dissolution of this constant and inevitable.

tension that records the process of representation between presence and absence, remembering and forgetting, the dye becomes more dramatic when reading the Colombian artist's work is inserted in the context of a country that political violence and memory collide in a tear radical.