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Yann Sérandour

Biography

Yann Sérandour Born in 1974 in Vannes, France. Lives and works in Paris and Rennes.

Solo exhibitions

2008

Weiss, gb agency, Paris.

Inside The White Cube, Module, Palais de Tokyo, Paris.

2007

Thirtysix Fire Stations, Monopoli, Montreal.

Bien amicalement, Musée de l'Objet, collection d'art contemporain, Blois.

Pile ou face, Quatorze jours avec Julie C. Fortier et Yann Sérandour, VF galerie, Marseille.

Show-room, Florence Loewy' books by artists, Paris.

Pendant l'exposition, l'hôtel vide affichera complet, galerie Vasistas / Hôtel Les Acacias, Montpellier.

Vivement lundi !, Cneai (Centre National de l'Estampe et de l'Art Imprimé), Chatou.

Group exhibitions

2009

Nord, Nord-Ouest, gb agency, Paris.

On Second Reading, galeria Estrany de la Mota, Barcelona.

Mark Geffriaud, Dominique Petitgand, Yann Sérandour, Berlin/Paris, gb agency at Croy Nielsen, Berlin.

2008

Re-construction, Biennial of Young Artists, Third Edition, Bucarest.

Art Focus, cur. B. Blistène et A. Barak, Jerusalem.

Il faut détruire Carthage, Lieu-Commun, Toulouse.

The Store, Tulips and Roses, Vilnius.

Anachronismes et autres manipulations spatio-temporelles, 40mcube, Rennes.

P2P, Casino Luxembourg, Forum d'art contemporain, Luxembourg.

Comme le verre à travers le soleil, Autour de Raymond Hains, Domaine départemental de La Garenne-Lemot, Gétigné-Clisson.

2007

Without, cur. Adam Carr, Galerie Yvon Lambert, Paris.

Información contra información, CGAC, Santiago de Compostela.

Ironies du presque-rien, Collection du Frac Bretagne, Galerie Art & Essais, Rennes.

Table d'hôtes, Institut d'Art Contemporain, Villeurbanne.

Time Flies, gb agency, Paris.

Special Collections: Reading, Series & Narrative, Leeds University gallery, Leeds.

Les Inattendus, Frac Franche-Comté, Musée départemental, Champlitte.

Curating Degree Zero Archive, Point Éphémère, Paris.

Logiques du rêve éveillé, Les Instants Chavirés, Montreuil.

The Moment You Realise You Are Lost, cur. Adam Carr, Johann König Gallery, Berlin.

00:30, Proposition de colloque, cur. Le Bureau, Kadist Fondation, Paris.

Dematérialisation, La Box, Bourges.

2006

Incipit, cur. Charlotte Laubard, Prix 2006, Fondation d'entreprise Ricard, Paris.

Transmission dérivée (cneai=), Villa Arson, Nice.

Royal Wedding expanded, cur. Muriel Colin-Barrand et la session 13 de l'École du Magasin, Console, Paris.

Cneai x Gravelines =, Musée du dessin et de l'estampe originale de Gravelines.

Some Things Brought to Hand, Les Livres de Paris Photo 2006, Florence Loewy, Carrousel du Louvre, Paris.

Some... Time... Waiting, www.sometimewaiting.co.uk, cur. Adam Carr.

Atlas, Salon du livre, Paris, (conception and realization : Daniel Lesbaches).

2005

Editions/artists' books '05, Florence Loewy, Starrett Lehigh Building, New York.

Utopia Station : on a road to permanent demonstration, World Social Forum, Porto Alegre, cur. Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, invitation by Nico Dockx.

2004

Salon des éditeurs light, cneai, Point Éphémère, Paris, cur. Sylvie Boulanger et Pascal Yonet.

Guardare, Raccontare, Pensare, Conservare, Quatre parcours du livre d'artiste des années soixante à aujourd'hui, Casa del Mantegna, Mantoue.

Voyageur Universel, Städtische Galerie, Palais Stutterheim, Erlangen.

Artist's publications

En position, published by Fondation d'entreprise Ricard, 2006

Cahier Clairefontaine, published by Cneai, Chatou, 2006

[Supplement], published by Cneai, Chatou, 2006

Thirtysix Fire Stations, 2004

Writings and artistic contributions

Strictement référentiel, in Strictement Confidentiel. From the collection of Marc and Josée Gensollen, exhibition catalogue, éd. Centre international d'art et du paysage de l'île de Vassivière / Silvana Editoriale, Milan, 2006

Serial Readers : fortune et infortune des livres d'Edward Ruscha, Revue d'esthétique, n° 47, sous la direction d'Anne M?glin-Delcroix et Leszek Brogowski (to be published)

Notes, in Jérôme Saint-Loubert Bié. Documents, Paris, Atelier Cardenas Bellanger / École des beaux-arts de Rennes, 2006

Books do furnish a room, in Un art de lecteurs, Rennes, éd. A&E, 2005

60 grams, 1680 grams of art, Paris, M19, 2006

Pages blanches, in Cneai = neuf ans, éd. Cneai, Chatou / Hyx, Orléans, 2006

Supplement, Multitudes, n° 26, spécial Transmission, coédition Multitudes, Cneai, Villa Arson, 2006

Fellowships and residencies

Cité des Arts, Paris, 2007-2008

Galerie La Box, Bourges, janvier - mars 2007

Maison Flottante, Cneai, Chatou, hiver 2007

Aide individuelle à la création, Ministère de la culture - DRAC Bretagne, 2006

Bibliography

2007

02, revue d'art contemporain, #44, winter 2007-08, p. 12, Anachronismes et autres manipulations spatio-temporelles, by Anne Langlois.

Información contra información, exhibition catalogue, pp. 190-191, CGAC/Xunta de Galicia, 2007.

Canadian Architect, Thirtysix Fire Stations, by Sophie Gironnay, September 2007.

Le Devoir, August 11-12, Les flammes d'une ville, by Jérôme Delgado.

Les Inrockuptibles, #602, June 12, p. 77, Pile ou Face, by Jean-Max Colard.

Frog Magazine, #5, spring/summer, pp. 87-89, Yann Sérandour, Cneai, Chatou, by Pierre Tillet.

Art Review, The Moment You Realise You Are Lost, by Astrid Mania.

ArtForum, Critics' Picks, The Moment You Realise You Are Lost, by Eva Scharrer.

02, revue d'art contemporain, #41, spring, p. 43, Yann Sérandour, Conteur d'Art Conceptuel, by Sammy Engramer.

Art 21, #12, spring, Vivement Lundi!, by Aurélien Mole.

2006

Incipit, exhibition catalogue, Entretien avec Yann Sérandour, by Charlotte Laubard, Fondation d'Entreprise Ricard, Paris.

Works

Weiss

Yucatan Mirror Displacements (1-9)

Portrait of a Young Man Reading a Magazine for Men

Le Plein

Titled (Art as Idea as Idea) [Kosuth]

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

This expansion of the biographical note consecrated to Joseph Kosuth in an art dictionary was produced according to the model of his Photostats at the end of the 1960s, turning the reflexivity of the initial proposition back against its author.

Perfect Lovers

Inside the White Cube

Fantômes (écrits d'artistes)

Complet

Untitled (Daniel Buren essay on John Knight's Leetsoii exhibition)

Wallpaper made from a 90° counter-clockwise rotation of Daniel Buren's essay published on the occasion of the John Knight's Leetsoii exhibition (Hoshour Gallery, Albuquerque, Dec. 1988). Essay republished in Daniel Buren, Les Ecrits, vol. III (Bordeaux: CAPC Musée d'art contemporain de Bordeaux, 1991), pp. 309-321.

Wallpaper made from a 90° counter-clockwise rotation of Daniel Buren's essay published on the occasion of the John Knight's Leetsoii exhibition (Hoshour Gallery, Albuquerque, Dec. 1988). Essay republished in Daniel Buren, Les Ecrits, vol. III (Bordeaux: CAPC Musée d'art contemporain de Bordeaux, 1991), pp. 309-321.

Appendix to “One and Two Chairs” 

Jospeh Kosuth's work One and Three Chairs (1965, coll. MNAM, Paris), reproduced on page 551 of an encyclopaedia of art was cropped and wrongly captioned "One and Two Chairs". An appendix to the edge of this page has been glued, which replaces to the missing definition of the word Chair, an empty space that may be mentally filled.

Jospeh Kosuth's work One and Three Chairs (1965, coll. MNAM, Paris), reproduced on page 551 of an encyclopaedia of art was cropped and wrongly captioned "One and Two Chairs". An appendix to the edge of this page has been glued, which replaces to the missing definition of the word Chair, an empty space that may be mentally filled.

Feux Pâles

The dust jacket of the catalogue of the exhibition Feux Pâles kept at the Bibliothèque Kandinsky of the Musée National d’Art Moderne (Centre Pompidou, Paris) has faded from exposure to sunlight and shows the shadowy presence of other books stacked on it.

L'Espace, lui-même

Enlargement of the space reproduced on the first page of Dimanche, the newspaper of a single day published by Yves Klein on Sunday, November 27, 1960.

Helvetica as Metallica

Le Code du petit beurre LU, relu

Bookstack

Tableau suisse

I Will Not Make Any More Boring Art

Low

Texts

Presentation

The interstitial and mimetic works by Yann Sérandour originate from existing works, publications and products which he reactivates and whose issues are changed. Embracing a conceptual view of art, he extends some historical expressions in other directions through infiltration, parasiting and “hijacking” operations. On one hand, these tactics are a way to reactivate —and sometimes to modify— the latent meanings of a work and, on the other hand, to interrogate the transformations of the historical, political and aesthetic issues associated with it. He has a close relationship to books and to the literature on art history and some of his publications include Thirtysix Fire Stations (2004), in response to the books published by Edward Ruscha in the 1960s and a Supplement (2004) that may be inserted in Lawrence Weiner’s catalogue raisonné "Specific & General Works", listing his statements from 1968 to 1993.

Press articles

Click on the underlined parts to download the texts in pdf

Press (Selection)

2009

Art on Paper, english, "Yann Sérandour : Weiss at gb agency, Paris", text by Chris Sharp, March/April.

Beaux Arts Magazine, french, "Yann Sérandour : Fraîcheur conceptuelle", text by Emmanuelle Lequeux, February.

Art Press, #353, french, "Yann Sérandour à gb agency", text by Jean-Marc Huitorel, February.

Artforum International, english, "Yann Sérandour at gb agency", text by Lillian Davies, February.

2008

Le Monde, french, "Yann Sérandour, gb agency", text by Emmanuelle Lequeux, December 6.

Les Inrockuptibles, #678, french, "Yann Sérandour", text by Jean-Max Colard, November 25 / December 1.

2007

Canadian Architect, english, "Thirty-Six Fire Stations", text by Sophie Gironnay, September.

Le Devoir, french, "Les flammes d'une ville", text by Jérôme Delgado, August 11-12.

Frog Magazine, #5, french, "Yann Sérandour, Cneai, Chatou", text by Pierre Tillet, Spring/Summer.

02, revue d'art contemporain, #41, french, "Yann Sérandour, Conteur d'Art Conceptuel", text by Sammy Engramer, Spring.

Art 21, #12, french, "Vivement Lundi!", text by Aurélien Mole, Spring.

Catalogue clips

Click on the underlined parts to download the texts in pdf

2007

Informacion contra informacion, catalogue of exhibition, CGAC / Xunta de Galicia, (english).

Book

Inside the White Cube - Overprinted Edition

This publication functions as a palimpsest: constructed on the reprint of the first French translation of Brian O'Doherty's influential book "Inside the White Cube" (published by JRP|Ringier in the series Lectures Maison Rouge), it superimposes reproductions and commentaries of Yann Sérandour's work.

Yann Sérandour's interstitial and mimetic proposals stem from pre-existing works or publications, whose meaning and problematics are thus reactivated. Inscribing himself in a conceptual heritage, the artist is prolonging historical gestures or manifestations by infiltrating and parasiting them. This practice of "détournement" is a way of reviving the (sometimes latent) stakes and significations of appropriated elements, as well as a way to interrogate their historical, political, and aesthetic dimensions.