Yann Le Guennec
Since the beginning
Works in France

PORTFOLIO (2)
BIO
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.
http://www.slashseconds.org/issues/003/002/articles/yleguennec/

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
Discussions (87) Opportunities (1) Events (9) Jobs (0)
DISCUSSION

Paradigmatic Landscapes - update


What we call a 'syntagm' is a sequence of 6 small pictures relating to a basic set of pictures. The syntagm is modified through interactions between spectators and what we call the 'paradigm'. Each time a spectator (or any entity connected to the work) access the paradigm through the syntagm, the syntagm is modified. Thus it is possible for the spectator as individual to be conscious about his action on the syntagm, but these possible observations can be messed up by the collective process. Many spectators can act quite simultaneously on the paradigm and doing so modify syntagm in a way that blurs the observation of the individual process.

Changelog:

* 17 Aug 2009: v1, implementation of the paradigmatic axis (algorithm of picture generation).
* 17 Aug 2009: v2, feedback from the paradigm to the syntagm, defined as a sequence.
* 19 Aug 2009: v2.1, syntagms separation, file structure update.

http://www.datapainting.com/paradigmatic-landscapes/

DISCUSSION

Paradigmatic Landscapes


Each time you access a picture from the "Paradigmatic landscapes"
project, 3 portions, from 3 pictures selected randomly in a defined set
of pictures, are extracted, resized and superposed to compose a new
picture. Thus, each generated landscape is different from another. There
is a poor probability to generate 2 identical pictures. "Paradigmatic
landscapes" is declined into several series, involving different sets of
defined pictures serving as bases for the compositions. "Paradigmatic
landscapes" project explores the "if" and the "how" a very simple
algorithm and sets of pictures (1, 2, 3) can generate some kinds of
visual patterns and exceptions, according to some ideas about some kinds
of landscapes, but without analyzing further any data model or trying to
explicit what happen when generating and looking at (references to)
landscapes.

http://www.datapainting.com/paradigmatic-landscapes/

EVENT

Twitter Mountains


Dates:
Mon Mar 23, 2009 00:00 - Mon Mar 23, 2009

simple datascapes made with some twitter data


DISCUSSION

Pure conceptual web.art (just for fun and google bot! :)


Structure for 1482 artworks

HTML, JPEG, 2008

This navigation structure allows 1482 different resources but the content remains the same. Only the Uniform Resource Identifier (ie 'the web address') is changing, and a small number near the center of the screen. Variation is more in the context than in the content.

http://www.yannleguennec.com/works/structure-for-1482-artworks.html
http://www.laboratoire-aleatoire.com/1482/

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DISCUSSION

Limits of Abstraction


i think you're right! we both work on pictures/compositions dealing with intersections between analog and digital, between abstraction and figuration, between action (programm) and static condition (picture), etc... these criteria compose a matrix in wich we can position our works, they won't be at the same place, but won't be far, i think..

there is also maybe a common background around the notion of landscape.

and you're once more right, there is something strange remaining, maybe something that can not be said ('indicible' in french)

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