Published by La Fábrica. Text by Dieter Schwarz, James Cahill, Manuela Mena.
Juan Muñoz (1953–2001) was a Spanish artist and self-described “storyteller” who worked primarily as a sculptor. Best known for his unsettling papier-mâché characters that seem to be caught in the middle of an action suspended in time, Muñoz made remarkable and pioneering breaks from the traditional and formal language of sculpture by introducing narrative elements into his work. This is the first overview of Muñoz’s little-known work in illustration, featuring his drawings and works on paper held by museum and gallery collections across Europe and the United States. With critical texts and essays to accompany the works, this volume contextualizes the artist’s drawing practice both within his larger oeuvre and the influence of 18th- and 19th-century European and Spanish drawing traditions.
Published by Mousse Publications. Edited by Vicente Todoli. Foreword by Marco Tronchetti Provera. Text by Federica Colletta, James Lingwood, George Stolz, et al.
Mainly known for his sculptures in papier mâché, resin and bronze, Spanish artist Juan Muñoz (1953–2001) often also explored writing and sound art, creating audio pieces and compositions for radio. Featuring writings by Muñoz, this volume accompanies the exhibition at HangarBicocca in Milan.
While Spanish artist Juan Muñoz (1953-2001) is known mostly for his sculpture, this booklet focuses on the artist's drawings. The 20 original and unpublished drawings highlighted here are based on the Joseph Conrad short story An Outpost of Progress, written in 1897.
Published by Louisiana Museum of Modern Art. Essays by Adrian Searle and Asa Nacking. Foreword by Steingrim Laursen.
Spanish artist Juan Munoz is well known for his installations and sculptures that often include architectural elements, human figures, and the like in which he takes into account the spatial elements of the exhibition space. This catalogue documents an exhibition of three separate but related installations at the Louisiana Museum of Modern Art in Denmark. Here, fabricated and painted human figures are scattered around the gallery in a variety of positions. In "Neal's Last Words" a figure is propped with his forehead against a mirror, perpetually staring at himself; in "Half-Circle," a group of laughing figures are arranged in an arc, and in "Many Times," there are 100 figures, all the same, arranged on a balcony in a variety of groupings. A traveling retrospective of Juan Munoz's work will open in the United States late in 2001.