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Yann Sérandour

Biography

Biography

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

Solo exhibitions

2011

Artissima, Present Future, Turin

Cloudy With a Chance of a Ray of Sunlight, gb agency, Paris.

2010

(Perfect Lovers), Entre-deux, Nantes.

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, Chatou.

Group exhibitions

2011

Codex, LiveinyourHead, Genève

Tableaux parisiens, The Do Right Hall, Marfa, Texas

Ailleurs et autrement, Haute Ecole d'Art et de Design, Genève

There must be "a right way", cur. François Aubard, Mosquito Coast Factory, Campbon

Incidents of Mirror Travels in Yucatan and other Places, Museo Tamayo Arte Contemporaneo, Mexico

Speech Objects, cur. Etienne Bernard et A Constructed World, musée de l’objet, Blois.

Studies for an Exhibition, cur. Mathieu Copeland, David Roberts Art Foundation Fitzrovia, London.

RN 137, L’Atelier, Nantes, 40mcube, Rennes.

Strates et arts, autour de François Morellet, Galerie Art Attitude Hervé Bize, Nancy.

Salons de lecture, La Kunsthalle, centre d’art contemporain, Mulhouse.

The Title as the Curator's Art-Piece, Galerie Christophe Gaillard, Paris.

The Way Beyond Art: Wide White Space, CCA Wattis Institute for Contemporary Arts, San Francisco.

2010

Les plus beaux livres suisses 2009, Mudac, Lausanne.

With/Without Sol LeWitt, Christophe Daviet Thery, Paris.

Double Bind / Arrêtez d'essayer de me comprendre !, Villa Arson, Nice.

Cas de figure, La Station, Nice, France

On Gaps and Silent Documents, Stuk, Leuven.

Seconde Main, Musée d'art moderne de la Ville de Paris, Paris.

89 km, Colección CGAC, MARCO, Museo de Arte Contemporánea, Vigo.

Chefs d'œuvres ?, Centre Pompidou-Metz, Metz.

Le Printemps de Septembre, 20e édition, Toulouse.

Eastside Project, Book Show, Eastside Projects, Birmingham.

Toute chose oblique, maison vide, Bouliac.

2009

Au pied de la lettre, Domaine départemental, Centre d’Art Contemporain, Chamarande.

The Store, Artissima projects, Torino.

Là où les eaux se mêlent, gb agency, Paris.

L'Ombre, le reflet, l'écho. Œuvres récentes du Fonds Communal d'Art Contemporain, La Criée, Rennes.

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

Inimprimés, Librairie Ombres blanches, Printemps de Septembre,Toulouse.

Objects in the Mirror are closer than they appear #4, From Walden to Vegas, Maison d’Art Bernard Anthonioz, Nogent-sur-Marne.

Books on Books, Christophe Daviet Thery, Paris.

Les Uns et les Autres, le portrait dans tous ses états, Musée d'art et d'histoire, Frac Bretagne, Saint-Brieuc.

Nord, Nord-Ouest, gb agency, Paris.

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

2008

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

Can Art Do More ?, Art Focus, cur. B. Blistène et A. Barak, Jerusalem.

Il faut détruire Carthage, Lieu-Commun, Toulouse.

The Store, Tulips and Roses, Vilnius.

Library, Uovo Open Office, Berlin.

Playtime, Béton Salon, Paris.

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.

Joseph Aloïs Schumpeter, OUI, Centre d'Art Contemporain, Grenoble.

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.

Atlas, Salon du livre, Paris, (conception et réalisation : Daniel Lesbaches).

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.

Bibliography

Bibliography

Monograph

2009

Inside The White Cube, Overprinted Edition, JRP|Ringier, Christoph Keller Series, Zürich, 2009, 84 p.

Catalogues

2010

Au pied de la lettre, Domaine départemental de Chamarande, Les Presses du réel (french/english)

Chefs-d’œuvre ?, Centre Pompidou-Metz (french)

On Gaps and Silent Documents, Leuven, Stuk (flemish/english)

Une forme pour toute action, Printemps de Septembre, Dijon, Les Presses du réel (french)

2009

Là où je suis n’existe pas, Printemps de Septembre, Dijon, Presses du réel (french)

2008

Can Art Do More?, Art Focus 5, Jerusalem Foundation (hebrew/english)

Re-construction, Biennial of Young Artists, 3rd Edition, Bucharest, Metacult (romanian/english)

2007

Informacion contra informacion, Santiago de Compostela, Centro Galego de Arte Contemporánea CGAC (catalan/spanish/english)

Special Collections, The University Gallery, Leeds, Wild Pansy Press (english)

Strictement Confidentiel, Centre international d’art et du paysage de l’île de Vassivière/Silvana Editoriale, Milan (english/french)

2006

Incipit, Fondation d’entreprise Ricard, Paris

2004

Guardare, Raccontare, Pensare, Conservare, Quatre parcours du livre d’artiste des années soixante à aujourd’hui, Corraini Editions (italian/english/french)

Press articles

2009

François Aubart, « Histoires d’archives », in 02, n°51 (french)

Emmanuelle Lequeux, « Yann Sérandour : Fraîcheur conceptuelle », in Beaux-Arts Magazine, n°296, p.53 (french)

Chris Sharp, « Yann Sérandour: Weiss at gb agency, Paris », in Art on Paper, vol. 13, n°4, p.86 (english)

Jean-Marc Huitorel, « Yann Sérandour à gb agency », in Art Press, n°353, pp. 87-88 (french)

Lillian Davies, « Yann Sérandour at gb agency », in Artforum International, Febr., pp. 204-205 (english)

Marjorie Micucci-Zaguedoun, « Yann Sérandour, un artiste peut en cacher un autre », Poptronics, 6 janvier (blog) (french)

Sarah Ihler-Meyer, « Yann Sérandour, Weiss, galerie gb agency, Paris », Paris Art, janvier (blog) (french)

2008

Sébastien Pluot, « Living Archives, l’histoire de l’art comme archive disponible », in L’art même, n° 38, 1er trimestre, pp.10-11 (french)

Jean-Max Colard, « Expos. Yann Sérandour », Les Inrockuptibles, n°678, 25 nov.-1er déc., p. 77 (french)

Emmanuelle Lequeux, « Yann Sérandour, galerie gb agency », Le Monde, 6 décembre (french)

2007

Jérôme Delgado, « Les flammes d’une ville », Le Devoir, Montréal, 11-12 août (french)

Jean-Max Colard, « Pile ou Face », Les Inrockuptibles, n°602, 12 juin, p. 77 (french)

« The moment you realise you are lost, Johann König, Berlin », Art Review, p. 166 (english)

Sophie Gironnay, « Thirty-Six Fire Stations », Canadian Architect, Sept. (english)

Aurélien Mole, « Vivement Lundi ! », Art 21, n°12, p.54 (french)

Pierre Tillet, « Yann Sérandour, Cneai, Chatou », Frog Magazine, n°5, pp.87-89 (french)

Sammy Engramer, « Yann Sérandour, Conteur d’Art Conceptuel », 02, revue d’art contemporain, n° 41, p. 43 (french)

Interviews

2009

Thierry Davila, « Clairefontaine : entretien avec Yann Sérandour », in Là où je suis n’existe pas, Printemps de Septembre, exhibition catalogue, Dijon, Presses du réel, 2009 (french)

2006

Charlotte Laubard, « Entretien avec Yann Sérandour », in Incipit, exhibition catalogue, Fondation d’entreprise Ricard, Paris (french)

Artist' writings

2010

« Gradiva Rediviva », Back Cover, design graphique, typographie, etc., n°3, Winter 2010, pp. 20-21 (french/english)

2008

« Serial Readers : fortune et infortunes des livres d’Edward Ruscha », in Nouvelle Revue d’esthétique, n°2, 2008, pp.51-56 (french)

2007

« Autobiographical Investigations », in John McDowall and Chris Taylor (ed.), Special Collections, exhibition catalogue, Leeds, Wild Pansy Press, University of Leeds, 2007, pp. 21-25 (english)

« Strictement référentiel », in Strictement Confidentiel, A partir de la collection de Marc et Josée Gensollen, exhibition catalogue, Centre international d’art et du paysage de l’île de Vassivière/Silvana Editoriale, Milan, 2007 (french/english)

2006

Lecteurs en série, enquête sur un profil artistique contemporain, PhD thesis, Université Rennes 2, 2006, 474 p. (french)

« Notes », in Jérôme Saint-Loubert Bié, Documents, éd. Atelier Cardenas Bellanger, Paris/École régionale des beaux-arts, Rennes, 2006, pp. 21-24(french/english)

2005

« Books Do Furnish a Room », in Un art de lecteurs, booklet, Rennes, éditions A&E, 2005, p.3-6 (french)

Downloadable press articles and catalogues

Click on the underlined parts to download the texts in pdf

Catalogue (selection)

2007

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

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.

Works

World Mirrors

World Mirrors (2011) is a series of aluminum print reproductions of black and white photographs of mirrors of different styles and periods (Louis XV, Queen Ann, Georges III, Federal, Neoclassical, Empire, etc.), taken from a reference book published by Sotheby’s. This catalogue testifies to the circulation of art objects through time, constantly collected and re-dispersed. The prints, enlarged to the original mirrors size, are arranged according to the book’s original layout and hung in the space in a kind of 15th century salon style.

Photo: Marc Domage

Cloudy With a Chance of a Ray of Sunlight

Cloudy With a Chance of a Ray of Sunlight (2011) is an installation traversing the exhibition space. A ray of light caught from the outside is reflected and deflected to the back of the room. The atmosphere that permeates the space is potentially and periodically awoken by the luminous sparks that crosses it, like a fortuitous event that suddenly deviates the process of things.

Photo: Marc Domage

Photo: Marc Domage

Photo: Marc Domage

Penitent Magdalene

Yann Sérandour moves a copy of the Penitent Magdalene by the Italian neoclassical sculptor Antonio Canova from its location in Chamarande (an estate just outside of Paris). In parallel, he presents the installation Penitent Magdalene (2011), composed by a photograph of a plaque and sculpted fragments gathered on a pedestal.

Yann Sérandour found the antique plaque, damaged by the weather, near the islet where the sculpture is located. It bears the following inscription:

“ The Penitent Magdalene was moved from the outbuildings of the castle at the end of the 1950s and set on the island by Gino Silvestri, Auguste Mione’s son in law. A hypothesis was raised by Clario Di Fabio, director of Genova’s Museo di Sant’Agostino’s, to date this Penitent Magdalene. Effectively the original by Canova was exhibited in Paris in the 1808 salon. But upon its return from Italy, restoration was necessary, as the transport had damaged the statue and its fingers were left broken, just like the fingers of the copy. This copy is likely to have been made in 1808 in Paris from the unrestored model of the sculpture by Canova.”

In view of this hypothesis, both intriguing, as it is suspect, Yann Sérandour prolongs the histories of Magdalene’s movements and misfortunes by asking a restorer to sculpt the missing parts. The sculpted fragments are presented in causal arrangement, cast like die upon a pedestal.

Photo: Marc Domage

Photo: Marc Domage

Photo: Marc Domage

“ The Penitent Magdalene was moved from the outbuildings of the castle at the end of the 1950s and set on the island by Gino Silvestri, Auguste Mione’s son in law. A hypothesis was raised by Clario Di Fabio, director of Genova’s Museo di Sant’Agostino’s, to date this Penitent Magdalene. Effectively the original by Canova was exhibited in Paris in the 1808 salon. But upon its return from Italy, restoration was necessary, as the transport had damaged the statue and its fingers were left broken, just like the fingers of the copy. This copy is likely to have been made in 1808 in Paris from the unrestored model of the sculpture by Canova.”

Photo: Marc Domage

Weiss

A selection of publications from the overflow of gb agency's archive is propped against the wall in loose stacks. Extracting the surplus material from this already superflous collection, I cut out all of the blank or nearly blank pages to create an accordion-fold leaflet. The cover of the booklet comes from the catalogue from the 2001 group show "Weiss" at the Museum für Gegenwartskunst Basel

A selection of publications from the overflow of gb agency's archive is propped against the wall in loose stacks. Extracting the surplus material from this already superflous collection, I cut out all of the blank or nearly blank pages to create an accordion-fold leaflet. The cover of the booklet comes from the catalogue from the 2001 group show "Weiss" at the Museum für Gegenwartskunst Basel

Yucatan Mirror Displacements (1-9)

Cutting out each of the mirrors Robert Smithson pictured in various mexican landscapes for his Yucatan mirror displacements series, the modified images are placed over shiny new mirrors.

Cutting out each of the mirrors Robert Smithson pictured in various mexican landscapes for his Yucatan mirror displacements series, the modified images are placed over shiny new mirrors.

Portrait of a Young Man Reading a Magazine for Men

Found photograph from the 1930s tucked into a corner of a rectangular mirror. The young man in the photograph bears a strong resemblance to me. The magazine he is reading, Esquire, is still in print.

Found photograph from the 1930s tucked into a corner of a rectangular mirror. The young man in the photograph bears a strong resemblance to me. The magazine he is reading, Esquire, is still in print.

Le Plein [Full-Up]

The classified catalog of the contents of the reconstruction of Arman's packed gallery space is plastered onto the gallery's wall. The reconscruction was done for the exhibition Hors Limites in Centre Pompidou in 1994 while the original gesture was done in 1960 at Iris Clert Gallery in Paris. The reconstruction is permanently exhibited at the Musée de l'objet in Blois.

The classified catalog of the contents of the reconstruction of Arman's packed gallery space is plastered onto the gallery's wall. The reconscruction was done for the exhibition Hors Limites in Centre Pompidou in 1994 while the original gesture was done in 1960 at Iris Clert Gallery in Paris. The reconstruction is permanently exhibited at the Musée de l'objet in Blois.

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.

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

A clockwork mechanism is installed behind the poster of the show Felix Gonzalez-Torres in the CGAC (Santiago de Compostela) in 1995/1996, showing the current time on the right clock.

A clockwork mechanism is installed behind the poster of the show Felix Gonzalez-Torres in the CGAC (Santiago de Compostela) in 1995/1996, showing the current time on the right clock.

Inside the White Cube

Eighteen copies of Inside the White Cube by Brian O’Doherty inserted in a cubic slipcase.

Eighteen copies of Inside the White Cube by Brian O’Doherty inserted in a cubic slipcase.

Fantômes [Ghosts]

This sign has been engraved from the handwritten sign COMPLET (no vacancy) taped to the front door of the hotel Les Acacias (Montpellier), even though it was empty. Multiple published on the occasion of the exhibition Pendant l’exposition, l’hôtel vide affichera complet [During the Exhibition, the Empty Hotel Will Display ‘No Vacancy’] at the galerie Vasistas, Montpellier (March 16 – April 28, 2007).

Complet

Neon sign created from the handwritten sign COMPLET (no vacancy) taped to the front door of the hotel Les Acacias (Montpellier), even though it was empty. It was made on the occasion of the exhibition Pendant l’exposition, l’hôtel vide affichera complet [During the Exhibition, the Empty Hotel Will Display ‘No Vacancy’] at the galerie Vasistas, Montpellier (March 16 – April 28, 2007).

Neon sign created from the handwritten sign COMPLET (no vacancy) taped to the front door of the hotel Les Acacias (Montpellier), even though it was empty. It was made on the occasion of the exhibition Pendant l’exposition, l’hôtel vide affichera complet [During the Exhibition, the Empty Hotel Will Display ‘No Vacancy’] at the galerie Vasistas, Montpellier (March 16 – April 28, 2007).

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 Écrits, vol. III (Bordeaux: CAPC Musée d’art contemporain de Bordeaux, 1991), p. 309-21

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” 

Joseph 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.

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.

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.

[The Reread Code of Petit Beurre LU (Serving Suggestion)]

Bookstack

A pile of found books whose titles play with the common phrase “A Needle in a Haystack”. The stack grows when a new title is found and takes its place on the top of the pile.

A pile of found books whose titles play with the common phrase “A Needle in a Haystack”. The stack grows when a new title is found and takes its place on the top of the pile.

Tableau suisse [Swiss Painting]

After having bought three of the 1000 "Made in China" red monochroms by Raphaël Julliard during the Fiac 2005 at Art & Public – Cabinet PH, Geneva, I asked a Swiss Studio to cover them with a white cross to get three "Made in Switzerland" paintings.

After having bought three of the 1000 "Made in China" red monochroms by Raphaël Julliard during the Fiac 2005 at Art & Public – Cabinet PH, Geneva, I asked a Swiss Studio to cover them with a white cross to get three "Made in Switzerland" paintings.

I Will Not Make Any More Boring Art

Low

Editions and Multiples

Complet

Cahier Clairefontaine [Clairefontaine Notebook]

The pages of this notebook are printed on the basis of a tracing produced freehand by children from a template reproducing the double lines of notebooks for learning handwriting. Conceived as an insertion into an industrial production line, the covers of the notebooks are provided by the stationer Clairefontaine, project partner.

Edition CNEAI

The pages of this notebook are printed on the basis of a tracing produced freehand by children from a template reproducing the double lines of notebooks for learning handwriting. Conceived as an insertion into an industrial production line, the covers of the notebooks are provided by the stationer Clairefontaine, project partner.

Edition CNEAI

Inside The White Cube. Édition fantôme

Design by Jérôme Saint-Loubert Bié

Box by Laurel Parker.

Printed by Les Compagnons du Sagittaire, Rennes.

Edition Christophe Daviet-Thery, Paris, 2009

Helvetica as Metallica

The inversion of two radically opposed visual identities. Helvetica is a font created in 1957 by the Swiss graphic designer Max Miedinger (1910–1980) for the Haas Type Foundry in Basel. Metallica is an American heavy metal group formed in 1981 in Los Angeles.

The inversion of two radically opposed visual identities. Helvetica is a font created in 1957 by the Swiss graphic designer Max Miedinger (1910–1980) for the Haas Type Foundry in Basel. Metallica is an American heavy metal group formed in 1981 in Los Angeles.

L’Espace, lui-même [Space Itself]

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.

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.

Edition La Box – Cellule X, Ensa Bourges/CNEAI, Chatou

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.

Edition by La Box – Cellule X, Ensa Bourges/CNEAI, Chatou

[Supplement]

The supplement is slipped into a cover whose design is inspired by the catalogue raisonné of Lawrence Weiner. It is distributed with a copy of the catalogue Specific & General Works, of which it is the supplement. The price printed on the back of the book by Weiner is 360 francs (54.88 euros). To make 100, the price printed on the back of the cover of [Supplement] is 45.12 euros.

Thirtysix Fire Stations

In 1964, Edward Ruscha published Various Small Fires after having published Twentysix Gasoline Stations in 1963. Forty years later, Thirtysix Fire Stations represents all the fire stations of the city of Montreal in operation on December 19, 2001.

Publication

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.