Tête-à-Cul (Paris, spring 2014)
2014
Bone (boar-doe), balloon, epoxy
42 x 30 x 20 cm (16 9/16 x 11 13/16 x 7 7/8 in.)
A boar’s jaw and a deer’s pelvis are intertwined. An inflated balloon fills the empty space left by this composition. It looks like a growth, a swollen belly, attached to the rest by epoxy. A thin coat of yellowish paint unites the whole suspended from the ceiling by a folded hanger. Chimera, sick organ or condensed body, Jean-Luc Moulène's Tête-à-cul (Paris, Spring 2014) is radically different from appealing and aesthetically pleasing works.
His singular career defies traditional artistic labels. He invents a stylistic language where breaks and disjunctions offer a critical look at the artist’s status and the art world. Far from the perfect body of ancient sculptures, Tête-à-cul is an absurd, confusing organic assemblage, a post-humanist body.
Tête-à-cul (Paris, Spring 2014) was first exhibited by the Pinault Collection in 2015 at the "Slip of the Tongue" exhibition at the Punta della Dogana.
His singular career defies traditional artistic labels. He invents a stylistic language where breaks and disjunctions offer a critical look at the artist’s status and the art world. Far from the perfect body of ancient sculptures, Tête-à-cul is an absurd, confusing organic assemblage, a post-humanist body.
Tête-à-cul (Paris, Spring 2014) was first exhibited by the Pinault Collection in 2015 at the "Slip of the Tongue" exhibition at the Punta della Dogana.
Exhibitions
Jean-Luc MOULÈNE © Adagp, Paris.
Courtesy the artist and Miguel Abreu Gallery, New York
Photo: Jeffrey Sturges
