Vik Muniz
(BRAZILIAN，B.1961)
Metachrome: Flowers，after Redon II
Executed in 2016 archival pigment print 100×130 cm
Provenance:
Nara Roesler Gallery

Vik Muniz was born in 1961，in São Paulo，Brazil. He lives and works in New York and Rio de Janeiro. Endlessly playful and inventive in his approach，Muniz harnesses a remarkable virtuosity in creating his renowned “photographic delusions.” Working with a dizzying array of unconventional materials— including sugar，tomato sauce，diamonds，magazine clippings，chocolate syrup，dust，and junk—Muniz painstakingly builds tableaux before recording them with his camera. From a distance，the subject of each resulting photograph is discernible； up close，the work reveals a complex and surprising matrix through which it was assembled. That revelatory moment when one thing transforms into another is of deep interest to the artist.
Muniz’s work often quotes iconic images from popular culture and art history，drawing on our sense of collective memory while defying easy classification and mischievously challenging the viewer’s process of perception.
Flowers，after Odilon Redon II，2016 is part of a sequence of recreated masterpieces by Turner and the Impressionists who were pushing the limits of the brilliant new hues available to them. While color was a key preoccupation for these artists，Muniz refocuses attention on the painting‘s materials，compelling the viewer to consider the basis of their making. In doing so，the artist asks the viewer to “re-see” these works，not only as the aesthetically pleasing images that they are，but also as a commentary on the process of creating art itself. The impermanence of materials and composition is present in many of Muniz‘s images，but the issue is brought into sharp focus by his use here of colored powders，calling to mind Buddhist sand mandalas. The displayed work is actually a photograph of Muniz’s original，given the difficulty of displaying these works in their original state. Yet these photographs function on a deeper level: Muniz establishes juxtaposition between the ephemerality of his medium and the concreteness of the photograph. It is as though the artist is inviting his audience to weigh the replicability of photographs，and consider the impact on both the financial and artistic value of the original works.

来源：
Nara Roesler 画廊

南美洲艺术
维克·穆尼斯于1961年出生于巴西圣保罗。现今生活并工作于纽约和里约热内卢。他的创作有着无尽的想象力和创造力，穆尼斯在他著名的‘摄影幻象’系列里展现了他精湛的掌控力。他一直使用着令人眼花缭乱的非传统的材料–如糖，西红柿酱，钻石，杂志剪贴，巧克力酱，灰尘和垃圾–来创作作品，并在进行漫长而冗余的效果搭建后用相机记录下这些材料组成的图像。从一定距离观看，每个照片最后呈现的主题都是可辨认的；但是在近距离观看时，作品展现出的拼接效果是复杂并令人讶异的。这种一件物体变成另一件物体而恍然大悟的时刻是艺术家最高的追求。
穆尼斯的作品经常引用大众文化和艺术史里的经典图像，来批判我们普世的大众集体意识并批评现代人习以为常的简化归类，淘气的改变着观者的认知过程。
“向奥迪隆·雷东致敬的花卉II”，是穆尼斯重新创作特纳以及映像派等经典大师作品的系列，艺术家希望能突破经典作品的限制给其带来新的可能性。尽管颜色是这些大师们绘画的主要着重点，穆尼斯希望重新聚焦到作品的材料上，引起观者对于画作制作过程的关注。为了达到这个目的，艺术家要求观众‘重新审视’这些作品，不仅仅是作为美学上享受的图像，也是对艺术本身制作过程的一种评论。
材料和结构的短暂性也在穆尼斯的许多作品中都有体现，但是在这件作品中被艺术家用彩色粉末的质感着重突出，整体画面有着佛教一沙一世界的禅意。这件作品是穆尼斯彩色粉末制成的粉末画的相片，因为原作品的材质，成品没有办法保存。但是摄影这个媒介也有另一种功效，穆尼斯表达了他真实作品的短暂性与照片的永恒性之间的对比。艺术家邀请观众们来衡量摄影作品的复制能力，也希望观众思考其对于原作品市场价值以及艺术价值的影响。