Yann Le Guennec
Since the beginning
Works in France

Yann Le Guennec is a visual artist, born 1968 in Brittany, France, where he lives and works.

He holds a Master Degree in Fine Arts from ESA Lorient. He was cofounder and worked for x-arn from 1998 to 2003. He teached at L'École de design Nantes Atlantique from 2001 to 2010.

His current artistic work is based on simple instructions that involve geometric compositions. These instructions are carried out in the form of photographs of arrangements made with available objects and materials in his local environment, and / or digital pictures modified by online softwares. These softwares use available data, mainly the IP addresses of devices that connected to his website.

The set of generated pictures constitutes a visual research on the existence of margins of freedom and action within a defined framework of rules and constraints. While in the extension of conceptual practices like those from Sol LeWitt, Claude Rutault, or algorithmic visual games from François Morellet, the various embodiments are an exploration of possible contexts allowing the existence of a contemporary art practice, mixing analog and digital, included in some banality of an everyday life that is not devoid of poetry.

Selected group exhibitions

2009 - TOOL BOX (as part of the exhibition ‘Urban Ping Pong’ curated by Emmanuel Ropers). Galerie Fernand Leger. Centre d'art contemporain d'Ivry, France.
2009 - Si j’avais un marteau!, base d'Appui d'Entre-deux, Nantes, France.
2008 - TOOL BOX. Commissariat: Jacques Rivet, Marie-Laure Viale, Ghislain Mollet-Viéville et Christian Ruby. base d'Appui d'Entre-deux, Nantes, France.
2007 - The Latency of the Moving Image in New Media. Curated by Eduardo Navas. Telic Arts Exchange, Los Angeles, USA

Selected publication

« Metaphor of the Merchant’s Table », /seconds, issue 10: 03/2009. ISSN 1751-4134. Useless Beauty and Fuzzy Logic: correlations of violence.

Selected bibliography

Barker, Tim. "Error, the Unforeseen, and the Emergent: The Error and Interactive Media Art." M/C Journal 10.5 (2007). 21 Jun. 2010 http://journal.media-culture.org.au/0710/03-barker.php
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A Non-Manifesto for the Summer of 2008

>Art not using generative software algorithms to re-examine the tradition of American landscape photography.




From Here to There

nice stuff, enjoyed the stream


The Rematerialization of Art

obtain the largest visibility with the minimal effort" is the motto of 0100101110101101.org from the beginning. Nikeground project for example is part of this intention, the anti-capitalism one might find in these projects is a posture to serve the original intent. The same goes for "AdWords Happening" by Bruno. For these people, there are no problems with these postures, the contradictions and paradoxes have to feed the social recognition of the artist, and it works. If the exhibition "Holy Fire" can reveal these strategies, it will be a step forward in our understanding of contemporary artistic practices, digital or not, it is not really the problem.


The Rematerialization of Art

Begin Google translation: The most curious in this story is that adopting some formal standards of contemporary art to integrate the art market existing digital practices presented in this expo will re-materialise in objects (digital print on canvas, ...), completely unlike the overly abstract financial products that circulate on the capital markets. This movement of re-materialization of art forms seems sorely lacking imagination, where we might expect from contemporary artistic practices, digital, intangible and distributed at the outset, they offer new ways exchange of value and should evolve and the art market itself. Currently, the operation resembles a bid regressive, a sad sterilization.