Constructing a narrative could be that with which to fill in gaps, making sense of a set of events whose documentary sources have been buried. Yann Sérandour’s project is similar to the work of a historian: he uses artefacts borrowed from his predecessors, as well as potential accidents and desires, in order to prolong and shed light on their histories.
Yann Sérandour’s work has often referred to the conceptual art of the 1960s and 1970s, periods of particular interest to the artist because of their prolific dissemination in the form of publications and prints, two of his favourite materials. In his most recent work, he shifts the attention to other fields and more distant times, reinforcing the temporal gap with our contemporaneity.
His work has been exhibited at the Parc Saint Léger in Pougues-les-Eaux, the CNEAI in Chatou, the Palais Fortuny in Venice, the Arts Santa Mònica in Barcelona, the Palais de Tokyo in Paris and the CCA Wattis in San Francisco, among others. He was recently a finalist for the Meurice Prize in Paris (2018).
