First of all, there are the photographs, among them four close-ups of women shooting rifles, flanked by the president of the Hunting Association of Timis (Shoot I–III, each dated 2004, and Shoot IV, 2005) and two of scenes deserted by their actors: a gallery with abstract sculptures lined up on shelves and glasses lined up on a table—Day of the Opening, 2005—and The Paupers’ Cemetery, 2005, a snow-covered graveyard on the outskirts of town, where a freshly dug ditch awaits the return of the gravediggers who have left their tools and other belongings there. Finally, two scenes with characters:

Jean-Luc Moulène’s 2005 project Le Monde, Le Louvre (which lent this show its title) took the form of a color supplement to the Parisian daily Le Monde and a small presentation at the Louvre. Stacks of Moulène’s supplement lay in front of the excavated walls of the medieval “Ancien Louvre,” as pointers to an adjacent exhibition space. Here, prints of the photographs reproduced in the paper were exhibited along with a video, Plus d’ordre, moins d’ordre (More Order, Less Order), 2005, that functions like an absurd making-of documentary: a ballet of hands with white gloves carefully handling