reviews

  • Jean-Luc Moulène, Bi-face, 2016, coated and painted hard foam. Installation view. Photo: Florian Kleinefenn. © Artists Rights Society (ARS), New York/ADAGP, Paris.

    Jean-Luc Moulène

    Centre Pompidou

    PROTOTYPE AND PRODUCT, sculpture and document, corporate brand and abstract object: Jean-Luc Moulène’s protean sculptures stubbornly resist our efforts to classify them. Yet the sheer multiplicity of his work, whether generated through high-end fabrication or via skilled traditional craftsmanship, inspired by esoteric mathematics or base bodily matter, is not simply meant to provoke or obscure. Rather, Moulène’s objects are produced in service of an ambitious investigation of complexity, a rigorous, near-metaphysical study of how things hold together, either on a small scale, as with the parts

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  • Cathryn Boch, untitled, 2016, comprising ten untitled works, all 2016, mixed media, 10' 9 1/8“ × 18' 10 3/4”. Photo: Jean-Christophe Lett.

    Cathryn Boch

    Galerie Papillon

    The roar of a sewing machine, the rhythmic clicks of a bobbin changing, the flapping of sheets of paper, and the artist’s focused breath were audible through a single pair of headphones at the center of Cathryn Boch’s recent exhibition “monades.” Played on a loop, this digital recording, Atelier 50’ (all works 2016), documents the soundscape of Boch’s actions and hesitations as she manipulates maritime maps, atlas pages, aerial photographs, paper, and thread. While the title of this sound work attests to its location and duration, all other pieces were left untitled. And each was pinned to the

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  • View of “Ciprian Mureşan,” 2016. From left: Plague Column #1, 2016; Plague Column #2, 2016. Photo: Aurélien Mole.

    Ciprian Mureşan

    Éric Hussenot

    Understanding “Plague Column” required knowing something about the sculptures stored in the warehouse of the National Museum of Art in Cluj (the Romanian city where Ciprian Mureşan studied and still lives), particularly the ones acquired at the height of socialist realism. There, in a place of both conservation and hiding, one can detect the oscillations of the country’s taste and cultural politics. In 2012, the artist used twenty-five sculptures, each resting on two plywood bases, as weights for drying and flattening his own prints; for later iterations of the project, he substituted plaster

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