For more than twenty years, Jean-Luc Moulène has developed a complex body of work, both analytical and mysterious, of which photography has long constituted the most visible and best-known part. From the Disjunctions—a series of seemingly banal, frequently urban images that function as indeterminate topographical references at the heart of the real world—to the celebrated Objets de grève (‘Strike objects’: product shots of industrial artefacts made by striking workers, subverting the tools of their trade), Moulène’s photographs are strikingly raw, cruel and uncompromising, but always secretly metaphorical.Read More
Drawings and sculptural objects have always played a part in his work, but both have assumed greater importance in recent years, superseding photography to become the chief component of Moulène’s most recent, large-scale exhibitions, though the essential spirit driving his distinctive oeuvre remains unchanged. Moulène’s works explore the question of representation in his chosen media, while at the same time drawing on their essential physicality and materiality to engage tirelessly with political, social and ontological issues ‘made flesh’—notably through the concept of ‘transaction’, an economically and sensitively charged term applied to the ongoing transaction between the imagination and reality.
Jean-Luc Moulène's notable exhibitions include More or Less Bone, SculptureCenter, New York, USA (2019); The Secession Knot, Secession, Vienna, Austria (2017); Centre Georges Pompidou, Paris, France (2016); Il était une fois, Villa Medici, Rome, Italy (2015); Documents and Opus (1985–2014), Kunstverein, Hannover, Germany (2015); Jean-Luc Moulène . works, Beirut Art Center, Beirut, Lebanon (2013); Modern Art Oxford, Oxford, UK (2012); Opus + One, Dia:Beacon, Beacon, New York, USA (2012); Carré d’art–Musée d’art contemporain, Nîmes, France (2010); Centre d’art Passerelle, Brest, France (2008); Musée du Louvre, Paris, France (2005); Jeu de Paume, Paris, France (2005); CCA Kitakyushu, Japan (2004); Centre d’Art Contemporain, Genève, Switzerland (2003); Le Confort moderne, Poitiers, France (1994).
He also participated in the 58th International Art Exhibition, Venice Biennale, Italy (2019); Taipei Biennial, Taiwan (2016); Biennale Internationale Design, Saint-Etienne, France (2015); Sharjah Biennial, UAE (2011), Sao Paulo Art Biennial, Brazil (2002).
His works have been acquired by numerous institutions, including Centre Pompidou, Paris, France; MoMa, New York, USA; Tate Modern, London, UK; MOCA, Los Angeles, USA; Carré d'art, Nîmes, France; MACVAL, Vitry-sur-Seine, France; Musée d'Art Moderne de la Ville de Paris, Paris, France; Centre National des Arts Plastiques (CNAP), Paris, France; FRAC Ile de France, France.
Text courtesy Galerie Chantal Crousel.
Haptic Feedback is a group exhibition dealing with the changing psychological relationship to physical space and our sense of belonging and touch under the influence of digital technologies. The exhibition was developed in collaboration with the Philadelphia-based artist of the gallery, David Hartt.