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
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
Net Ae 2.0 postmortem
To Patrick Lichty: it's quite funky you speak about 'panic with public' because these days, i allways converge to jack burnham , and last time was from
http://del.icio.us/neural
Security Aesthetic = Systems Panic:
http://www.global-security-alliance.com/research/695801
i guess smurfin club's (= surfing club + wheel systems) should quote pathways to targets.
http://del.icio.us/neural
Security Aesthetic = Systems Panic:
http://www.global-security-alliance.com/research/695801
i guess smurfin club's (= surfing club + wheel systems) should quote pathways to targets.
Net Ae 2.0 postmortem
I was kidding, not trolling after a misreading
+ i love swamp/marsh:
http://www.laboratoire-aleatoire.com/lab/LocalContextRemoteData
+ "the galleries and monetization" is neither an obsession, nor a sufficient context to make or define art, especially when talking about internet art. For art, 'medium-specificity' and 'technical support' can make sense from a socio-technical perspective, not from a strictly technical one.
That's why these issues are not opposite, but intricate (swamp + pretty good questions).
+ i love swamp/marsh:
http://www.laboratoire-aleatoire.com/lab/LocalContextRemoteData
+ "the galleries and monetization" is neither an obsession, nor a sufficient context to make or define art, especially when talking about internet art. For art, 'medium-specificity' and 'technical support' can make sense from a socio-technical perspective, not from a strictly technical one.
That's why these issues are not opposite, but intricate (swamp + pretty good questions).
Net Ae 2.0 postmortem
i don't think that's the point (being an artist, a star, the first, the last, the best, the worst, etc...). i think more about perpetuation of the schism between formalisms, well accepted in art world as a market, and practices searching to transform the essence of art in itself (like Burnham for example).
Net Ae 2.0 postmortem
@Tom Woody: no need to refer to the "Good God" in order to quote yourself arguing about humility! ;-) may be this is just a misreading.
@patrick lichty "Reinventing the wheel? Who doesn't? " ok, but reinventing the wheel is not exactly believing that you invent it. when you take a readymade, you know it is allready made. When you believe you're creating something from nothing, it's not like changing a context for something.
"Beyond this, I see a pretty linear progression of history", may be not really, i'm just reading this:
"For some readers these pages will echo feelings of the past. It may be remembered that in the fall of 1920 an ideological schism ruptured two factions of the Moscow Constructivists."(...) Jack Burnham - Systems Esthetics
http://www.dxarts.washington.edu/courses/202/current/gallery/burnham.pdf
History may have some hiccups?
@patrick lichty "Reinventing the wheel? Who doesn't? " ok, but reinventing the wheel is not exactly believing that you invent it. when you take a readymade, you know it is allready made. When you believe you're creating something from nothing, it's not like changing a context for something.
"Beyond this, I see a pretty linear progression of history", may be not really, i'm just reading this:
"For some readers these pages will echo feelings of the past. It may be remembered that in the fall of 1920 an ideological schism ruptured two factions of the Moscow Constructivists."(...) Jack Burnham - Systems Esthetics
http://www.dxarts.washington.edu/courses/202/current/gallery/burnham.pdf
History may have some hiccups?
