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

Re: New Membership Policy


Jim Andrews wrote:

>>>text where one already has been told interesting facts about
>>>
>>>
>>the artwork
>>
>>
>>>which predispose one to view the work. For example, in viewing your
>>>http://www.x-arn.org/rhizome/ , I did not actually view any of the art
>>>
>>>

>>>the relational database of art objects is like a periodic table made up of
>>>imaginative art elements. I am pure flatulence therein. It's mine. I insist.
>>>There are the elements but it's the relations between them and distinctions
>>>between them and what happens when you put them together that interests us
>>>most about the periodic table, though we may take special interest in
>>>particular elements. And indeed each element has its rich lore which the
>>>cunning chemist cultivates over the course of a career.
>>>
>>>
>>>

I agree, but to do/show/see the relations between elements, i think you
need an open and dynamic system and not a closed one with a strict
internal self-promotional flux.

>>>ja
>>>http://vispo.com
>>>
>>>

DISCUSSION

Re: Artbase 101 - Linked vs. Cloned?


Hi somebody & the list

Ranger and Squirrel wrote:

>"The Rhizome ArtBase is a respected online archive of new media art containing some 1,500 works."
>
>Hi all,
>This bit from the 'press release' got me wondering if someone on the list could do a query and find out how many works are linked vs. cloned?
>
I guess no member can 'do a query' in .rhiz artbase. //only appointed
are allowed//

may be in 2010 there will be some web.services or XML/RPC

free for members in intestine

http://www.rhizome.org/support/?referral=/print.rhiz?2175

>My hunch is that very few are cloned and most are just links.
>
>Rhizome's 'respected' self-trumpeting aside, how has the artbase become an archive containing works and not a big list of links?
>
>
>
>Kevin McGarry wrote:
>
>
>
>>We were planning on waiting until we had the online component of the
>>show
>>ready to announce it to the list - As Francis has been away a
>>significant
>>part of
>>June, that won't be until next week when the show opens at the New
>>Museum.
>>We are also writing up a different release for the online show,
>>because the
>>one for the New Museum had to conform to space restrictions.. So, more
>>to
>>come soon.
>>
>>Kevin
>>
>>
>>
>>>maybe i missed it, but why so little pr about this upcoming show??
>>>http://www.newmuseum.org/now_cur_RhizomeArtBase101.htm
>>>+
>>>-> post: list@rhizome.org
>>>-> questions: info@rhizome.org
>>>-> subscribe/unsubscribe:
>>>
>>>
>>http://rhizome.org/preferences/subscribe.rhiz
>>
>>
>>>-> give: http://rhizome.org/support
>>>-> visit: on Fridays the Rhizome.org web site is open to non-members
>>>+
>>>Subscribers to Rhizome are subject to the terms set out in the
>>>Membership Agreement available online at
>>>
>>>
>>http://rhizome.org/info/29.php
>>
>>
>+
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>-> visit: on Fridays the Rhizome.org web site is open to non-members
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php
>
>
>

DISCUSSION

Re: New Membership Policy


Jim Andrews wrote:

>First let me say I enjoyed the ARN Hub work you or your organization did
>previously,
>
Jim, thanks for your interest.

>I think? This let people browse various lists. Is that project
>still up? What is the URL if so?
>
http://www.x-arn.org/hub/

>And what is ARN, by the way?
>
ARN is a small organization, a kind of collective. You can check
http://www.x-arn.org/w3/NumericalNetworksActions for more.

>That seemed 'flatter' in the sense you mention, ie, less 'hierarchical' for
>some reason. As I said, I did not find your http://www.x-arn.org/rhizome/
>piece exploitative, but it is something I wonder about concerning curatorial
>projects--particularly when they involve sufficiently many works that each
>work begins to look like a data point in a data set that has the real focus
>and attention, not the art works themselves. Usually I do not find such
>projects of artistic interest, though not always. Often, when a project
>curates a hundred works (or whatever--more than 4), the statement is 'look
>at the curation, not the art'. Again, I didn't really get that sense from
>your project.
>
>The word 'database' is used quite loosely these days. What separates a
>database from 'a bunch of collected things' is that a database is
>relational. In other words, it is cross-indexable and queriable concerning
>the cross-indexed information.
>
Absolutely. This work focuses on the identifier (primary key) which
allows the cross-reference, not used here.

>It is one thing to encounter a work as an anonymous data point in a huge
>collection of artworks. It is quite another to encounter it in some sort of
>context where one already has been told interesting facts about the artwork
>which predispose one to view the work. For example, in viewing your
>http://www.x-arn.org/rhizome/ , I did not actually view any of the art
>works. I was not motivated to do so, to view anonymous data points in a huge
>data set.
>
>I did not find your project exploitative, but neither did I find it an
>interesting art experience of the works themselves.
>
>
Your critic is really interesting. It means this piece has a kind of
autonomy despite it completely relies on other pieces ?

>I think the relational aspect of databases make it possible to rescue large
>databases from presenting art works in vacuo, but it would seem to be an
>ambitious undertaking that usually doesn't work very well. Part of the
>ambition, I take it, of the Rhizome artbase is to try to present the art
>works themselves in contexts wherein the works can be experienced
>rewardingly.
>
>Part of the work of art is to battle the forces of dullness, deadening
>sameness. If works are not significantly distinguished, and also
>significantly related, the forces of dullness triumph and the universe yawns
>once more, poor thing.
>
You're right, but didn't Duchamp show us a long time ago that you make
the artwork when experiencing it ? It means you're able to create a
landscape in your mind when looking at grey numbers.

cordially,
yann /ARN

DISCUSSION

Re: Structure of Art


Deborah MacPherson wrote:

>The problem is, when creating the "art side" or even the "all of humanity's knowledge and expertise" view too many items are arbitrarily placed in proximity. These relationships will not be initially based on facts as the science structure and cartographic maps are. That is why I am writing, to see if any readers can recommend an expert know-it-all or suggest resources to validate these maps rather than just arbitrarily making them.
>
>Any suggestions are truly appreciated.
>
The only way is to let the user define his information space while
keeping alive the global map as a result of multiple point of views. You
need the more "neutral map engine" you can imagine and then allow
everyone to feed data and also everyone to work with the data model. You
need a meta model with no category. May be you can take a look at
collective intelligence and also the basic principles of a wiki engine.

Regards,
yann / ARN
http://www.x-arn.org/yann/blog/

DISCUSSION

Re: New Membership Policy


Jim Andrews wrote:

>Once again, though, the artists seem to be at the bottom of this hierarchy.
>Do you think so? I suppose it is possible to see it otherwise.
>
Yes it is possible to see it otherwise. People (artists, critics, ...)
and objects (pieces, projects, events, organizations...) are nodes in a
network. These nodes are linked if, for example, someone works on a
project or someone takes part in an organization, or, if a work needs
another one to exist, we can link the works. It is the case as you
pointed out with with any kind of interface to the artbase. So with this
model, there is no hierarchy, we are on a flat network, nodes are more
or less connected to others, and that's how i think about art in a
networked environment. I guess also this kind of network map would be
very useful to give us a picture of what new media art, or whatever we
call it, is globally.