“Movement at a standstill” is a phrase that speaks to our experience of an artwork’s aesthetic capacity, coming to us from Adorno’s late work. Jean-Luc Moulène, as a consummate technician, scientist, semiotician, and provocateur all wrapped together under the aegis of an artist, persistently puts this phenomenal aesthetic dictum to every possible material and perceptual test—and then some. Indeed, his decades-long, proliferate output of variant, nuanced and never-repeated analytic questions-qua-objects time and again invents the latest test for elucidating contemporary art, searching along the outer contours of aesthetic history’s most troublesome complexities and responding with precisely engineered, incisive solutions. The works comprising Clearly are objects that on first impression produce a seductive enigma, an irrefusable riddle, and which then, upon further reflection, make apparent their own answers as though self-evident—explicitly, clearly.
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