Juan Muñoz

Palacio de Velázquez

Juan Muñoz’s recent retrospective, his first exhibition in Madrid in a number of years, contained numerous drawings, as well as sculpture. Muñoz’s central concerns, however—a tension between opposites, narrative ambiguity, and a scenographic quality—are most clearly articulated in his sculptural works.

The work in the show followed an easily traceable trajectory. After creating more two-dimensional pieces during the ’80s, starting with Balcones (Balconies, 1984) Muñoz began to produce three-dimensional abstractions with dramatically juxtaposed elements. He later introduced human figures—perhaps in an effort to escape the formalism toward which his work seemed to be leading—and he has since been arranging them in dynamic, stagelike spaces. His newer work suggests narratives only in the form of veiled allusions or points of departure—looking at one of these pieces is like viewing a single

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