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Events in Art and Archaeology

Vik Muniz: <EM>Che (Black Beans),</EM> after Alberto Korda, 2000Digital C-print, 150x120Courtesy of Xippas Galleries
Vik Muniz: Che (Black Beans), after Alberto Korda, 2000
Digital C-print, 150x120
Courtesy of Xippas Galleries
Vik Muniz: Pictures of Anything
TEL AVIV  •  Tel Aviv Museum of Art.  •  28 March - 2 August 2014

Since the mid 1990s, Vik Muniz (b. 1961, São Paulo) has been incorporating everyday objects into his photographic process to create witty, bold, and often deceiving images based on photojournalism and art history. The Brazilian-born, New York-based artist makes pictures from dirt, diamonds, sugar, wire, string, chocolate syrup, peanut butter, dust, ketchup, the circular paper remnants made by hole punches, junk, pigment, and other materials. Though Muniz’s images are often familiar—borrowing from popular culture and Old Master artists—it is quickly evident that they are not what they seem. Using an approach that the artist calls “the worst possible illusion,” the works are formed from materials gathered from everyday life, which Muniz arranges and photographs, rather than traditional artistic materials.

This comprehensive exhibition covers 25 years of the artist's oeuvre andincludes most of his series, including Pictures of Chocolate, Pictures of Dust, Pictures of Earth and Pictures of Garbage.

Tel Aviv Museum of Art Website

Contact: Tel: (972) 3 60 77 020

<SPAN class=pie _extended="true">Alina Szapocznikow: <EM>Leg,</EM> 1962Plaster, 20 x 50 x 50Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris©ADAGP, Paris. Photo: Fabrice Gousset.</SPAN>
Alina Szapocznikow: Leg, 1962
Plaster, 20 x 50 x 50
Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris
©ADAGP, Paris. Photo: Fabrice Gousset.
Alina Szapocznikow: Body Traces
TEL AVIV  •  Tel Aviv Museum of Art.  •  7 February - 31 May 2014
This show presents the work of Polish artist Alina Szapocznikow (1926 - 1973). Although her artistic activity was short-lived —in the final years of modernism and on the verge of new trends in art —it yielded a cycle of radical, reflexive works which embody the artist's traumatic biography —life in concentration camps and terminal illness— while resonating with Surrealist aesthetics, Nouveau Réalisme, and Pop art. The thematic and conceptual axis at the core of her art is the human body —with its sensations, passions, and transience— as motivator, sensor, and witness; as an existential experience in the cycle of life and death.

Tel Aviv Museum of Art Website

Contact: Tel Aviv Museum of Art
27 Shaul Hamelech Blvd
The Golda Meir Cultural and Art Center
61332012 Tel Aviv
Tel: (1) 972 3 60 77 020

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