Brian Hieggelke

The Juan Muñoz exhibit at the Art Institute is surprising. Surprising in that it represents the Impressionist-loving institution's second consecutive contemporary art show. Surprising in the way the curator plays a critical role--from the unconventional display of sculptural installations amidst iconic arenas like the Grand Staircase to the just-perfect manner in which a piece like "Five Seated Figures" interacts with itself, the viewer and the physical design of the space. And surprising in the very introduction of this accomplished Spanish artist, who is sadly being given his first major overview in the wake of his untimely death last year at the age of 48. Muñoz's best sculptures are really installations, little plays that involve human-like figures, the architectural environment and the viewer. Muñoz's work is both enigmatic and accessible, theatrical and contemplative. Contradiction rules the response: faces filled with euphoria seem also emotionless; they laugh like Stepford Wives. Or do they? Shaved heads and minimalist garb evoke Maoist austerity or the drones of "Metropolis"--except they generally seem happy and engaged. And in creating work both playful and haunting, rich with references to art and culture yet completely self-sufficient, Muñoz is a welcome surprise indeed.

Juan Muñoz is on display at the Art Institute of Chicago, 111 South Michigan Avenue, (312) 443-3660, through January 5, 2003.

(2002-09-18)

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