Ordeal of Picasso’s Heirs, 2012 (installation view)
DVD in handmade box bound in black Frankonia and black velvet, silkscreen print and magnet closure.
Box: 26 1/2 x 18 1/2 x 5 cm., published by Reila Gracie Editora, Rio de Janeiro, Brazil
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Ordeal of Picasso’s Heirs, 2012
DVD in handmade box bound in black Frankonia and black velvet, silkscreen print and magnet closure.
Box: 26 1/2 x 18 1/2 x 5 cm., published by Reila Gracie Editora, Rio de Janeiro, Brazil
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Carteras sin Ministro, 2012
Three gold-embossed leather briefcases, each 17 x 13 x 8 in., edition of 3
Published by Galería Moisés Pérez de Albéniz, Pamplona, Spain
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On Translation: Warning/ ВНИМАНИЕ, 2012
Piezo-inkjet fine art print, 39 1/3 x 27 ½ in., edition of 6
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Look/See/Perceive (Mirar/Ver/Perciber), 2009
Desk lamps and cut vinyl graphics, 19 ½ x 71 x 8 ½ in., edition of 6
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Quejas, 2007
Six digital pigment prints, overall: 43 x 86 ½ in., each 20 ½ x 27 ½ in., edition of 24
Published by La Caja Negra Ediciones, Madrid
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Morgen Toiletten, Stuttgardt, 2006-2012
Series of eight Chromagenic color prints, each: 7 x 5 in., edition of 9
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Tout va bien, 2003
Serigraphs on rag paper, triptych, each, 30 x 22 in., edition of 75
Each signed and numbered in pencil by the artist, published by Alain Buyse, Lille, France
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On Translation: The Bookstore, 2001
Thirty-two Cibachrome prints mounted on aluminum, overall: 58 x 118 in., each: 13 x 13 in.,
Edition of 9, published by Galería Moisés Pérez de Albéniz, Pamplona, Spain
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On Translation: The Edition, 2000
Twelve versions of John Berger’s book Ways of Seeing
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Sentences (1999 -  )

We Are Fantastic, Montevideo, 2005
Serigraph on rag paper, 39 1/3 x 27 ½ in., edition of 42
Signed and numbered in pencil, published by LOGO, Montevideo, Uruguay
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Lo hecho en México . . ., Mexico, 2004
Serigraph on rag paper, 39 x 26 2/3 in., Edition of 45
Signed and numbered in pencil by the artist, Published by Laboratorio Arte Alameda, Mexico City, Mexico
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Estamos condenados al éxito, Buenos Aires, 2002
Serigraph on rag paper, 39 x 27 ½ in., edition of 40
Signed and numbered in pencil by the artist, published by IMPA-La Fábrica i Manos, Buenos Aires, Argentina
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Colombia is Doing Well, Bogotá, 1999
Serigraph on rag paper, 20 3/8 x 39 ¼ in., edition of 56
Signed and numbered in pencil by the artist, Published by Arte Dos, Bogotá, Colombia
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Brasil . . . Tudo bem, Tudo bom!, São Paulo, 1999
Serigraph on rag paper, 19 x 39 ¼ in., edition of 70
Signed and numbered in pencil by the art, published by Galeria Luisa Strina, São Paulo / Art & Prints, Madrid
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España va bien, Madrid, 1999
Serigraph on rag paper, 27 ¾ x 27 ¾ in., edition of 70
Signed and numbered in pencil by the artist, published by Art & Prints, Madrid
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Diálogo, 1980
Duratrans with walnut light box, 78 ¾ x 39 5/8 x 7 in.
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Muntadas: Eleven presents eleven works created in varying periods and under varying circumstances. This exhibition marks the first time these works have been seen in New York, beginning with the earliest, Diálogo, produced in 1980 in Madrid; to the series Sentences, begun in 1999; to Look/See/Perceive of 2009; to recent work like The Ordeal of Picasso's Heirs and Carteras sin ministro, both from 2012. Although Muntadas is well known for constructing critiques of what he calls the "media landscape" in large and complex projects, each of these eleven works embody a particularly direct and personal engagement with issues of perception, interpretation, and representation.

Antoni Muntadas was an early pioneer of video and installation in the mid-seventies, and he has continued to work with photography, video, installation, audio recording, and urban intervention. Iterations of his iconic projects—such as Between the Frames: The Forum (1983-93), The Board Room (1985), and the ongoing series On Translation (1995- ) and The Construction of Fear (2008- )—have been widely exhibited at institutions and galleries in North and South America, Europe, and the Middle East. Muntadas participated in the 1977 and 1997 editions of Documenta, the 1991 Whitney Biennial, the 1983 São Paulo Biennial, the 2000 Havana Biennial, the 2002 Taipei Biennial, the 2004 Kwangju Biennial, the 2011 Istanbul Biennial, and the 2012 Paris Triennale curated by Okwui Enwezor. In 2005 he represented Spain at the Venice Biennale, where he realized a comprehensive project on the architectural evolution of the Biennale over its history. Recent surveys have included exhibitions at the Museu d'Art Contemporani, Barcelona; Laboratorio Arte Alameda, Mexico City; Neuen Museum Weserburg, Bremen; Espacio Fundación Telefónica, Buenos Aires; Württembergischer Kunstverein, Stuttgart; and the Estaçao Pinacoteca, São Paulo. Just closing is "Entre/Between," a major career-spanning exhibition at the Museo Nacional Centro de Arte Reina Sofia in Madrid, curated by Daina Augaitis.

Muntadas has received numerous honors, including awards from the Solomon R. Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts, the New York State Council on the Arts, Arts Electronica in Linz, Laser d'Or in Locarno, and the Premi Nacional d'Arts Plàstiques de la Generalitat de Catalunya. In 2005 the Spanish Ministry of Culture awarded him the Premio Nacional de Artes Plásticas.

There is an online publication available documenting all of the works included in ELEVEN.

Please call Douglas Walla or Jeanne Marie Wasilik with requests at 212.365.9500.
Gallery hours are Tuesdays through Saturdays from 10 am to 6 pm.