Pan, 2019. Printed rubber boots, common reed (Arundo Donax) collected from the Albufera of Valencia and ballast. 400 x 180 x 180 cmPan, 2019. Printed rubber boots, common reed (Arundo Donax) collected from the Albufera of Valencia and ballast. 400 x 180 x 180 cmPan (Detail), 2019. Printed rubber boots, common reed (Arundo Donax) collected from the Albufera of Valencia and ballast. 400 x 180 x 180 cmPan (Detail), 2019. Printed rubber boots, common reed (Arundo Donax) collected from the Albufera of Valencia and ballast. 400 x 180 x 180 cmThe Oak and The Reed, 2019. Room 1. General viewTThe Oak and The Reed, 2019. Room 2. General viewThe Oak and The Reed, 2019. Room 2. General viewThe Oak and The Reed, 2019. Room 2. General viewRefolded to Redress (Detail), 2019. Inkjet print on 42 g kozo paper. Walnut box frame.The Oak and The Reed, 2019. Room 3. General viewFolded to Fit, 2019. 8 inkjet prints. Camouflage fabric and buckram fabric. Box: 38 x 27 x 5 cm. Ed. 15 copies + 3 A.P.Folded to Fit (Detail), 2019. 8 inkjet prints. Camouflage fabric and buckram fabric. Box: 38 x 27 x 5 cm. Ed. 15 copies + 3 A.P.
Paravent (Detalle), 2019. Laser engraving on oak wood. 180 x 370 x 100 cmParavent, 2019. Laser engraving on oak wood. 180 x 370 x 100 cmParavent (Detail), 2019. Laser engraving on oak wood. 180 x 370 x 100 cm
Luis Adelantado is pleased to present The Oak and The Reed, a project by Yann Sérandour, articulated around one of Jean de la Fontaine’s most famous fables and which also gives name to this exhibition, where the artist has recreated a whole cosmos around the figure of water reeds, almost as a political proposal for the transformation of submission conditions.
To showcase this idea, he has made a series titled Refolded to Redress in which he establishes complex interference and crossing relationships with various imprints of cane herbaria from different countries. Originally, these prints were pleated so that they could be reproduced on stardard-sized paper. Yann deploys them in an attempt to reconstruct their earliest form.
By his bending and cutting, he points out the —illegitimate— similarity to then transform it into a difference, evidencing a thought whose flexibility is pierced, over and over again, by that which encapsulates it.
Now, in this game of models and copies, it is the difference that has moved onto the realm of images, exalting —in this case— the heterogeneous and performative aspect of a world whose strength lies in that folding and unfolding in all directions; yet it is not, paradoxically, completely determined, for —as the oak— it would run the risk of breaking.
Yann Sérandour (1974, Vannes). Constructing a story could be a form of filling gaps, giving meaning to a set of events whose documentary sources have been buried. The work of Yann Sérandour is similar to the work of a historian: he uses artifacts borrowed from his ancestors, in order to prolong and shed light on stories. His work has been exhibited at the CNEAI in Chatou, the Fortuny Palace 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 nominated as a finalist for the Meurice Prize in Paris (2018).
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Paravent (Detalle), 2019. Laser engraving on oak wood. 180 x 370 x 100 cm
