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
Re: Charlie puts NMA's down...
another quote:
"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."
i think this is great, so will better write:
"when everyone becomes a producer and we all grow in a great sea of
experimentations made up of billions of creative microchannels."
why being so alarmed by JB (& others) idea , Charlie ?
marc wrote:
> Wow - and now we have Charlie Gere putting us all down.
>
> "So are artists at the cutting edge of new-media technology? No, says
> Charlie. One of the problems is that other stuff on the net is so much
> more mind-blowing. A site such as Google Earth is so much more awesome
> and thought-provoking than something an arty hacktivist can knock up on
> her PC."
>
> I would love to have an open discussion with him about this stuff this
> on-line.
>
> http://feeds.feedburner.com/~r/mtaa/~3/13468813/the_times_uk_does_new_media.html
>
>
> Also check rhizome front page...
>
> Thanks Charlie, we love you two ;-)
>
> marc
>
"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."
i think this is great, so will better write:
"when everyone becomes a producer and we all grow in a great sea of
experimentations made up of billions of creative microchannels."
why being so alarmed by JB (& others) idea , Charlie ?
marc wrote:
> Wow - and now we have Charlie Gere putting us all down.
>
> "So are artists at the cutting edge of new-media technology? No, says
> Charlie. One of the problems is that other stuff on the net is so much
> more mind-blowing. A site such as Google Earth is so much more awesome
> and thought-provoking than something an arty hacktivist can knock up on
> her PC."
>
> I would love to have an open discussion with him about this stuff this
> on-line.
>
> http://feeds.feedburner.com/~r/mtaa/~3/13468813/the_times_uk_does_new_media.html
>
>
> Also check rhizome front page...
>
> Thanks Charlie, we love you two ;-)
>
> marc
>
StatVis : some colors from the internet
Hits to x-arn.org wiki are stored into a database. StatVis PHP scripts take
data into this database in order to generate colored visualizations. The
main principle is that an IP address is composed as xxx.xxx.xxx.xxx where
xxx is between 0 and 255, exactly like the value of red, green, or blue in
the RGB space. xxx values also give us the opportunity to take them as
coordinates. Then, for example, counting the number of time the same IP
connects to the website can give us a third value used for a circle width,
and so on.
http://lab.datapainting.com/StatVis
--
data into this database in order to generate colored visualizations. The
main principle is that an IP address is composed as xxx.xxx.xxx.xxx where
xxx is between 0 and 255, exactly like the value of red, green, or blue in
the RGB space. xxx values also give us the opportunity to take them as
coordinates. Then, for example, counting the number of time the same IP
connects to the website can give us a third value used for a circle width,
and so on.
http://lab.datapainting.com/StatVis
--
Re: New media art shouldn't suck
T.Whid wrote:
> MTAA has been wanting to move into the gallery for quite some time
> now. In order to do so, we'll need to start thinking that our audience
> is completely ignorant of digital culture. We can't expect them to be
> geeks that are excited about a good hack. We'll need to communicate
> our emotion, interest and excitement. We can't expect them to share it
> until we communicate every bit of it.
Making art with the internet is just like making art with anything else. It
just says that you don't need the 'art world' to do it, unless you need the
money from this art world.
What you're telling about is not a lack of digital culture from the
audience, but a lack of audience's power on what you can do. It's the same
if you put a piece of plastic with a mirror on a beach, not many people will
see that as art, everyone can do it, and yes precisely, it's just a human
act which says that art is just a human thing.. and this act doesn't need
any 'art world' to mystify the act. The 'art world' of such an act is simply
the world itself, and so it is for a net.art piece.
try it: http://yann.x-arn.org/wiki/Arc
--
> MTAA has been wanting to move into the gallery for quite some time
> now. In order to do so, we'll need to start thinking that our audience
> is completely ignorant of digital culture. We can't expect them to be
> geeks that are excited about a good hack. We'll need to communicate
> our emotion, interest and excitement. We can't expect them to share it
> until we communicate every bit of it.
Making art with the internet is just like making art with anything else. It
just says that you don't need the 'art world' to do it, unless you need the
money from this art world.
What you're telling about is not a lack of digital culture from the
audience, but a lack of audience's power on what you can do. It's the same
if you put a piece of plastic with a mirror on a beach, not many people will
see that as art, everyone can do it, and yes precisely, it's just a human
act which says that art is just a human thing.. and this act doesn't need
any 'art world' to mystify the act. The 'art world' of such an act is simply
the world itself, and so it is for a net.art piece.
try it: http://yann.x-arn.org/wiki/Arc
--
10 rules (to take part in New Media Art History)
- Every net.artist should write a book about net.art.
- Every book about net.art should be available online, for free.
- Every online book about net.art should be licenced in order to allow
others to make derivative from it.
- Every reference to a net.art work should provide dated screenshots.
- Every net.art.book should be available in open standard format, in order
to allow books to exchange their content and allow various agents to compose
meta.net.art.books.
- Every net.art.book written by a net.artist may compose a net.art history
to position its writer in this history.
- It is assumed that every net.art.book following this set of rules is in
its own a net.art work, making a net.art.book is sufficient for someone to
become a net.artist.
- Every net.art.book should follow these rules in order to be considered as
a net.art.book.
- These rules may be overwritten by other rules provided by net.artists who
write books about net.art.
- Every net.artist should write at least the last rule of this set of rules.
--
ARN
http://www.x-arn.org/
- Every book about net.art should be available online, for free.
- Every online book about net.art should be licenced in order to allow
others to make derivative from it.
- Every reference to a net.art work should provide dated screenshots.
- Every net.art.book should be available in open standard format, in order
to allow books to exchange their content and allow various agents to compose
meta.net.art.books.
- Every net.art.book written by a net.artist may compose a net.art history
to position its writer in this history.
- It is assumed that every net.art.book following this set of rules is in
its own a net.art work, making a net.art.book is sufficient for someone to
become a net.artist.
- Every net.art.book should follow these rules in order to be considered as
a net.art.book.
- These rules may be overwritten by other rules provided by net.artists who
write books about net.art.
- Every net.artist should write at least the last rule of this set of rules.
--
ARN
http://www.x-arn.org/
DATAPAINTING LAB
http://lab.datapainting.com/Arc-c-a-i/screen
--
Text to be reviewed ("english is free //since// 2001"):
Welcome in datapainting.com online lab.
Work is articulated around the images - traces of installations and
interventions in the environment. Datapainting software makes it possible to
work with these images in the numerical and networked environment. It
restore these traces as new compositions, informed and deformed by online
activity. These compositions are temporary materialisation of the global
artistic process.
http://lab.datapainting.com/
--
x-powered -not- by: http://x257.com
--
--
Text to be reviewed ("english is free //since// 2001"):
Welcome in datapainting.com online lab.
Work is articulated around the images - traces of installations and
interventions in the environment. Datapainting software makes it possible to
work with these images in the numerical and networked environment. It
restore these traces as new compositions, informed and deformed by online
activity. These compositions are temporary materialisation of the global
artistic process.
http://lab.datapainting.com/
--
x-powered -not- by: http://x257.com
--