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
spider as artist
Spider as artist
(tribute to Niele Toroni)
The spider is conceived to produce an autonomous show of paintings in a
public exhibition space. Paintings are made by the program according to data
given by online interface users. Paintings are output representations of
URIs provided as input. The show is a loop composed with online produced
paintings.
http://www.laboratoire-aleatoire.com/oem/spider-as-artist/
--
(tribute to Niele Toroni)
The spider is conceived to produce an autonomous show of paintings in a
public exhibition space. Paintings are made by the program according to data
given by online interface users. Paintings are output representations of
URIs provided as input. The show is a loop composed with online produced
paintings.
http://www.laboratoire-aleatoire.com/oem/spider-as-artist/
--
Re: Re: Re: Charlie puts NMA's down...
agree
Eric Dymond wrote:
> To Beuys, dismantling the cultural and social systems that
> supported the class divisions and yielding a new, more vital social
> infrastructure where everyone was encouraged to create and participate
> was the point. It may sound utopian, but he wasn't being ironic. Eric
> "The web, Charlie says, has the alarming potential of realising the idea
> of the artist Joseph Beuys, that everyone is an artist. This could spell
> the end of art as we know it, when everyone becomes a producer and we all
> drown in a sea of mediocrity made up of billions of minutely-niched
> microchannels" + -> post: list@rhizome.org -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support + Subscribers to Rhizome are subject
> to the terms set out in the Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
Eric Dymond wrote:
> To Beuys, dismantling the cultural and social systems that
> supported the class divisions and yielding a new, more vital social
> infrastructure where everyone was encouraged to create and participate
> was the point. It may sound utopian, but he wasn't being ironic. Eric
> "The web, Charlie says, has the alarming potential of realising the idea
> of the artist Joseph Beuys, that everyone is an artist. This could spell
> the end of art as we know it, when everyone becomes a producer and we all
> drown in a sea of mediocrity made up of billions of minutely-niched
> microchannels" + -> post: list@rhizome.org -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support + Subscribers to Rhizome are subject
> to the terms set out in the Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
Re: Jackson Pollock dot orgie
Patrick Tresset wrote:
> It is a shame that all the Charlie discussion prevented commenting on this work
> which is entertaining, clever and simple
there is something similar between jacksonpollock.org and your work:
quote: "The goal is for the final system to mimic the process developed by
the artist, rather than aiming at results exactly reproducing his way of
drawing a portrait. Nevertheless, the produced sketches are in the style of
the artist." (http://doc.gold.ac.uk/aikon/wp/?page_id=2)
Both works are directly linked to activities made by hands in a world with
some physical laws (gravity and liquids for pollock, hand on paper with a
pencil for aikon (?) ). They are ''entertaining'' because they let us think
about experiences we already had in other context, not on a computer
connected to the net. From my point of view, this is a new 'manierism'
(technique and artifice, imitation) allowed by technology.
> It is a shame that all the Charlie discussion prevented commenting on this work
> which is entertaining, clever and simple
there is something similar between jacksonpollock.org and your work:
quote: "The goal is for the final system to mimic the process developed by
the artist, rather than aiming at results exactly reproducing his way of
drawing a portrait. Nevertheless, the produced sketches are in the style of
the artist." (http://doc.gold.ac.uk/aikon/wp/?page_id=2)
Both works are directly linked to activities made by hands in a world with
some physical laws (gravity and liquids for pollock, hand on paper with a
pencil for aikon (?) ). They are ''entertaining'' because they let us think
about experiences we already had in other context, not on a computer
connected to the net. From my point of view, this is a new 'manierism'
(technique and artifice, imitation) allowed by technology.
Re: Charlie puts NMA's down...
> Art is rare. So the article does not disappoint me. It talks about new
> media. We exist!
Art is not rare, art is everywhere for whom can see it. Art is what we say
it is. I agree with Jim Andrews about the parallel with theory of light.
> PS 2
> Please ARN explain us a bit more about your poietic aggregator?
> Indeed, how many persons are behind?
I never tried to count. I thought about people behind works presented in
articles from sources used in this aggregator.
> Tell me why this is more than just another way to produce beautiful
> abstract images?
it's more and not more...it depends how you look at it. If you read french
(i know you do ;-), you can read:
http://yann.x-arn.org/wiki/PoieticAggregator
" Si les initiateurs de ce projet envisagent essentiellement des activites
de veille, je crois aussi qu'une interface de ce type pourrait etre tres
utile pour la gestions des alertes, le suivi des activites multi-projets ou
encore la surveillance d'un parc de machines "
for me, it's just a way to produce abstract images, and not necessarily
beautiful. secondly i use it sometimes to jump in unknown online works.
> media. We exist!
Art is not rare, art is everywhere for whom can see it. Art is what we say
it is. I agree with Jim Andrews about the parallel with theory of light.
> PS 2
> Please ARN explain us a bit more about your poietic aggregator?
> Indeed, how many persons are behind?
I never tried to count. I thought about people behind works presented in
articles from sources used in this aggregator.
> Tell me why this is more than just another way to produce beautiful
> abstract images?
it's more and not more...it depends how you look at it. If you read french
(i know you do ;-), you can read:
http://yann.x-arn.org/wiki/PoieticAggregator
" Si les initiateurs de ce projet envisagent essentiellement des activites
de veille, je crois aussi qu'une interface de ce type pourrait etre tres
utile pour la gestions des alertes, le suivi des activites multi-projets ou
encore la surveillance d'un parc de machines "
for me, it's just a way to produce abstract images, and not necessarily
beautiful. secondly i use it sometimes to jump in unknown online works.
Re: Charlie puts NMA's down...(2)
when everyone becomes a producer and we all grow in a great sea of
experimentations made up of billions of creative microchannels."
& i prove it:
http://poietic-aggregator.com/ap/Home
http://poietic-aggregator.com/ap/Furtherfield
just figure out how many people, .org, and other strange entities are behind
these 2 hypermedia colored doors ? And it's just a very small selection,
always changing. The fact is that every day, more and more people are doing
artistic things, because they can. Art history, or contemporary art, even
New Media Art (if there is one), need only, let's say ... 100 people names,
to build a hierarchy and a market that let you believe that there is
progress(ion) in art, and by doing so, defining criteria for collective
esthetic judgement. Reality is much more rich and creative, much more
''rhizomic'' in criteria, ideas, values, times and spaces, and today's art
practices are everywhere, we just have to take part.
experimentations made up of billions of creative microchannels."
& i prove it:
http://poietic-aggregator.com/ap/Home
http://poietic-aggregator.com/ap/Furtherfield
just figure out how many people, .org, and other strange entities are behind
these 2 hypermedia colored doors ? And it's just a very small selection,
always changing. The fact is that every day, more and more people are doing
artistic things, because they can. Art history, or contemporary art, even
New Media Art (if there is one), need only, let's say ... 100 people names,
to build a hierarchy and a market that let you believe that there is
progress(ion) in art, and by doing so, defining criteria for collective
esthetic judgement. Reality is much more rich and creative, much more
''rhizomic'' in criteria, ideas, values, times and spaces, and today's art
practices are everywhere, we just have to take part.