EXHIBITION
FROM 23 FEBRUARY
TO 19 MAY 2019

LES EAUX COURANTES

Yann Sérandour

YANN SÉRANDOUR

Les eaux courantes (Running Waters) presents, for the first time, a major ensemble of the work Yann Sérandour has produced over the last decade. This show was not conceived as a moment to look back. Rather, it reveals a playful process of appropriation, a creative exercise in style in ever-new iterations.

 

Sérandour works somewhat like an historian whose research seeks to give meaning to a string of facts, with the library serving as its emergent horizon. He explores the library by means of extraction and insertion, as well as slipping into the margins and interstices to work out his own stories there. His methods of investigation and the resulting art objects demonstrate his taste for research, but above all they are an excuse for exploring the reflexive nature of art and its transmission.

 

Sérandour approach involves the appropriation of art made by historical figures associated with Conceptual Art. That movement, emerging in the 1960s, redefined the artist as the producer of an idea rather than a finished object. Further, he takes himself responsibility for the distribution of his work and the attendant commentaries in the magazines and editions he publishes, while interrogating the museum and other exhibition sites. Rooted in that historic current, Sérandour revisited Brian O’Doherty’s iconic essay Inside the White Cube to make two editions. One, handled in a somewhat tautological fashion, Inside the White Cube (Expanded Edition), 2008, consists of a white slipcase containing the number of copies of the original book necessary to reproduce the square format of the text’s first expanded edition. The other, Inside the White Cube. Edition fantôme (2009) uses the French translation of the essay, entitled White Cube. L’espace de la galerie et son idéologie, as a palimpsest. The book’s original pages are overprinted with Sérandour’s works and commentaries on them, thus combining two different temporalities. This kind of resituating existing documents in a new configuration also characterizes Bibliographie (2011), a piece that uses books about the work of François Morellet to construct a continuous line connecting all of them together.

 

Framing and Being Framed (2011), a half-title page of a 1975 catalog by Hans Haacke, works in the same way, through displacement. Its place in the exhibition turns it into a wall text about his exploration of art history, especially its fringes. This piece introduces us to Sérandour’s interest in cynology, the study of dogs, including their grouping into breeds according to the book’s official standards and the ways those breeds are produced and maintained. He used this approach to make the series Beepie’s Friends (2017), paintings based on a 1990s book about the different canine breeds, each done in the manual’s stipulated ideal dimensions for the pictured animal. This work is emblematic of Sérandour’s attachment to precise sources, but it is also about the idea of domestication and the constraints involved in the transmission of knowledge. That idea makes another appearance in his most recent work about the common reed. While his artworks are always either made for a specific occasion or the product of a particular f   ield of research, they are not so much simple displacements as elements submitted to precise display procedures that generate new constellations. All of the works in this show are the result of the application of these operating modes – extraction, insertion and restaging  – to produce new relations and narratives.

Catherine Pavlovic

AROUND THE EXHIBITION

OPENING

saturday 23 february, 17h

EVENTS

tuesday 23 april – friday 26 april
WORKSHOP OF CÉCILE BICLER
Initiation to video with the artist and filmmaker.
From 11 years old.
Free, reservation required
(within the limits available)

saturday 6 april, 16h – 18h
ARTISTIC PERFORMANCE, PALOMA MOIN
Confession under request

CONFERENCES

saturday 9 march, 18h
WITH NATHALIE LELEU
Art historian.
Presentation of her book
Bis repetita (ed. La lettre volée)
Bookstore le Cyprès, Nevers

thursday 4 april, 14h – 16h
WITH RÉMI PARCOLLET
Art historian.
Meeting as part of the week of the european days of crafts. ESAAB, Nevers

TOUR

sunday 24 fevruary, 31 march, 28 april et 19 may, 16h
GUIDED TOURS

samedi 18 mai, 14 h – 18h
LONG NIGHT OF MUSEUM
As part of the « La classe, l’œuvre » program, two classes of the Pougues-les-Eaux primary school will show you the exhibition.

WORKSHOPS

saturday 30 march, 10h – 17h
WRITING WORKSHOP WITH PIERRE BASTIDE
Free, reservation required.

saturdays 16 march, 27 april et 11 may,
16h – 18h

AROUND THE BOOK
Each workshop will address an angle of the book, from narration to editing.
Free, reservation required.

FAMILY WORKSHOP

sunday 7 april, 15h
GUIDED TOUR FOLLOWED BY A WORKSHOP AND A SNACK
Free, reservation required.
5 years old and older.

sunday 12 may, 15h
READING
Discovering books linked to the exhibition for children
Free, reservation required.
5 years old and older.

INFORMATIONS

SHUTTLE

Reservation required for the free shuttle from Paris to the venue

Details and reservation: 03 86 90 96 60 or clement.guignard@parcsaintleger.fr