Vik Muniz
(BRAZILIAN，B.1961)
Pictures of Magazine 2: Woman and Bicycle，after Willem de Kooning Executed in 2012 digital c print
160×100 cm
Provenance:
Nara Roesler Gallery

In Pictures of a Magazine II: Woman and Bicycle，after Willem de Kooning，Vik Muniz recreates the iconic de Kooning Woman and Bicycle using images and text torn out from books，magazines as well as any multiple other sources. In a departure from his previous series，the material Muniz uses here is not subservient to the image. The viewer must work much harder to “see” the recreated painting. The playing field is leveled，image and material have equal importance，and even within the overall picture no specific component is privileged– a tabloid’s Scarlett Johansson snapshot，Klimt’s iconic portrait of Adele，a random bit of text，or a snippet of a Gauguin painting all carry equal weight. This practice reflects modern life with its incessant influx of information，some of it seemingly worthy and some of it seemingly worthless. Western culture’s continuous iteration of updating，overwriting，and replacement leaves an endless stream of garbage in its wake. The content of the stream becomes raw material in an act of renewal. Muniz sees this body of work as a continuation of his Pictures of Garbage series and the portraits he made of the Jardim Gramacho waste pickers. But here，rather than using physical garbage as his medium，Muniz draws from the endless media onslaught of our culture，a recycling of mental “garbage”.
In the act of appropriation，Muniz creates remarkably fresh originals with distinct identities. In culling images that feel familiar，things we may have looked at but have never really seen，Muniz asks us to consider what we have left behind in our voracious pursuit of the new.

来源：
Nara Roesler 画廊

在2014年作品“杂志图片系列2：女人与自行车，向威廉·德·库宁致敬”中，维克·穆尼斯用从书本，杂志和其他各种途径搜集来的图片和文字重塑了德·库宁最著名的作品“女人与自行车”。作为艺术家上一个系列的变革，这个系列里，穆尼斯的材料并不只是服务于最终画面。观众需要花更多的努力才能辨识这个被重塑的作品。艺术家对整个创作过程进行了升华，材料和画面有着同样的重要性。在整体作品中没有任何一个小的组成部分占有过多的比重-八卦杂志上斯嘉丽·约翰逊的偷拍，克林姆特经典的人物肖像阿黛尔，一篇随意的文字，又或是高更作品中的一小部分都在整体作品中有着同样的比重。这个创作方式体现着当今生活中不断涌入的信息，有一些似乎有意义，有一些似乎没有意义。批判了西方文化中过度更新，过度解读和替代品飞速的更新迭代，进而留下来一整批无穷无尽的垃圾这一文化常态。这些垃圾信息的内容又会成为再生品的原始材料。
穆尼斯把这个系列看作是他垃圾图片系列以及他创作的一幅对在Jardim Gramacho区里捡垃圾的人的肖像的延伸。但是在这里，穆尼斯用我们文化里无止境的传媒垃圾代替了实体的垃圾，寓意着现代人思想上对“垃圾”的回收。
在挪用这一创作行为上，穆尼斯发明了一种有着自己独特风格的无比新奇的方式。通过筛选我们所熟悉的图片，和那些我们匆匆扫过一眼却没有真正观察的事物，穆尼斯要求我们重新审视我们在疯狂的追求新事物的时候错过了什么。