Olivier Foulon

Musée d’Art Moderne Grand-Duc Jean

Olivier Foulon’s work seems made precisely to frustrate interpretation, because the scruples that ought to govern the act of putting a work into words are already the focus of his artistic thinking. How is a work perpetuated and transformed in light of critical reception? How do the role and stage assigned to the artist shift? In short, how does art history play itself out? These are some of the key issues of his practice.

The exhibition “Prisma Pavilion” is immediately surprising because here the expanse of mudam’s main gallery has been used for displaying objects that would seem to call instead for the dimensions of a cabinet of curiosities. A succession of twenty-three small, colored rectangles hang at regular intervals of about eight and a half feet at eye level. From afar, one thinks of Niele Toroni, because this wall (its proportions, edges, and flaws) is revealed. But when one

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