Synopses & Reviews
Since the late 1980s, Jean-Luc Mouland#232;ne (b. 1955) has developed a body of work informed by a critical investigation of artistic authorship, addressing such issues as autonomy, immanence, and anarchic politics. Although he is best known for his enigmatic and seductive large-format photographs, Mouland#232;ne has maintained a parallel exploration of materials and objectsand#8212;manufactured and found, industrial and organic, intimate and imposingand#8212;that he has collectively titled Opus. This book, the first critical study of Mouland#232;ne's work, brings together leading scholars to examine the artist's diverse aesthetic strategies and interests in the relationships between social and political arenas and systems and orders, including geometry, mathematics, social sciences, and human behavior. Featured essays also examine Mouland#232;ne's theoretical and playful inquiries into the plasticity of materials and the ways we see and understand both still and moving images.
"This bold monograph from Raymond, curator of the Dia Art Foundation, presents MoulÃ¨ne to a broad United States audience for the first time. Based in Paris, he first rose to the attention of French (and some international) art critics in the 1980s, and his reputation since has remained largely reliant on his photographic work and European contexts. Both the exhibition (at Dia:Beacon) and this accompanying book expand into MoulÃ¨ne's three-dimensional work the objects he titles his 'Opus' while still giving space to the photographic inquiries that initially made his career. That MoulÃ¨ne's work is influenced by a heavily theoretical bent is evident in the equally academic (and playfully innovative) essays accompanying the images. Explicative without being didactic, they highlight the philosophical undercurrents that connect his objects and photographs; pieces like his seven-year-long photo study of a single weed seem entirely in line with 'Body', a large, sleek vessel manufactured by automotive engineers and painted in rich primary colors. His lingering theoretical interests in the body, the production of objects, and bifurcation are all stimulating. However, it is the images themselves, deceptively simple and beguiling, that distinguish the text and announce MoulÃ¨ne as a significant force in contemporary art. Color illustrations. (Mar.)" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
About the Author
Yasmil Raymond is curator of Dia Art Foundation.