Abstract Like many artists since the Renaissance and Baroque Óscar Muñoz (Popayán, Colombia, 1951), has been intrigued throughout his career by reflective devices. I discuss selected drawings, installations and videos from the 1970s to 2010. I argue that in their portrayal and embodiment of ephemerality and entropy his works act as surrogates for the human conscience and body. His art is thus imbued with both an existential and a social significance. Metaphorically, the physical processes to which he alludes evoke an unfulfillable human need to visualise and comprehend our own existence, identity and fate. His works also assert a need to concern ourselves with fellow humans’ lives and their memorialisation within a social and historic context – as in Colombia in the last sixty years – that has often thwarted people’s abilities to acknowledge each other’s suffering and loss. When confronting Muñoz’s art, we are literally and symbolically reflecting on the temporal and entropic character of images, objects, and life.

中文翻译：

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作为镜子或屏幕的艺术对象

摘要 像自文艺复兴和巴洛克风格以来的许多艺术家一样，Óscar Muñoz（波帕扬，哥伦比亚，1951 年）在他的整个职业生涯中都对反光装置很感兴趣。我讨论了从 1970 年代到 2010 年的精选绘画、装置和视频。我认为，在他们对短暂性和熵的描绘和体现中，他的作品充当了人类良知和身体的替代品。因此，他的艺术既具有存在意义，又具有社会意义。比喻地说，他所提到的物理过程唤起了人类无法实现的需求，即想象和理解我们自己的存在、身份和命运。他的作品还声称需要在社会和历史背景下关注人类同胞的生活和他们的纪念——就像过去 60 年的哥伦比亚一样——这常常阻碍人们承认彼此的痛苦和损失的能力。当面对穆尼奥斯的艺术时，我们是在字面上和象征性地反思图像、物体和生活的时间和熵特征。