london

Pierre Molinier

Cabinet Gallery

To paraphrase an old blues man, some works of art are meant to signify, others to sanctify. The late photographic work of the virtually obscure French Surrealist Pierre Molinier seems to embrace both modalities. In the end, his work is perhaps more interesting considered as a form of psychosexual reparation mediated through Surrealist dogma.

This interpretive move has consequences for Molinier’s reentry into the consciousness of the art world. Thus far, the recoding of this body of work seems to be a clear example of annexation by mainstream discourse of gendered representation. That this sort of packaging of the artist is perhaps not as perspicacious as may first appear leads one to one of the hidden bonuses of a psychosexual—albeit non-Oedipal—reading of his work. To claim that Molinier’s staged and montaged photographic works represent an attempt to instantiate the totality of a lost

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