The work of an historian could be that of filling gaps, giving meaning to a series of events from exhumed documentary sources and constructing a plot, like a novelist, in order tell us a story that really took place. The work of Yann Sérandour (1974, Vannes) is similar to the work of that historian: using artifacts borrowed from his predecessors, potential accidents and chances, he leads investigations and indexes missing pieces, in order to prolong and cast doubt on histories.
The work of Yann Sérandour has often referred to conceptual art of the sixties and seventies, periods of particular interest to him because of their copious diffusion in the form of publications and prints – his favorite material. In his recent work, he turns his attention to other fields and more distant times, strengthening a temporal gap with our contemporaneity.
His work has been exhibited at the Parc Saint Léger in Pougues-les-Eaux, 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).