A Figure Four Trap. Yann Sérandour – Luis Adelantado Valencia

Press release/Dossier

A Figure Four Trap. Yann Sérandour

Trapping Birds Right-Hand). 2015. Duratrans print mounted on plexiglas in waxed steel lightbox. 122.4 x 152.4 x 9 cm

A Figure Four Trap. 2015. Room 3. General view

L’Enseigne [How to Train Your Dog]. 2015. Printed cardboard slipcase, painted wood and second hand book. 35 x 29 x 4.8 cm

Chasses aux pièges 1-2. 2015. Antique book bound in two volumes & pink ribbon. 2.2 x 13 x 21 cm

Chasses aux pièges 1-2. 2015. Antique book bound in two volumes & pink ribbon. 2,2 x 13 x 21 cm

A Figure Four Trap. 2015. Room 3. General view

A Figure Four Trap. 2015. Room 3. General view

A Figure Four Trap. 2015. Room 3. General view

[…] To Train Your Dog. 2015. Dye sublimation print on polyester with aluminium frame. 81.7 x 203.5 x 3 cm

A Figure Four Trap. 2015. Room 3. General view

A Figure Four Trap. 2015. Room 3. General view

Hanging Figure Skates #38.5. 2015. Used pair of figure skates and black lace. 280 x 30 x 26 cm

A Figure Four Trap. 2015. Room 3. General view

A Figure Four Trap. 2015. Marble slabs, carved oak sticks & taxidermized sparrow. Variable dimensions

A Figure Four Trap (Detalle). 2015. Marble slabs, carved oak sticks & taxidermized sparrow. Variable dimensions

A Figure Four Trap. 2013. Room 3. General view

A Figure Four Trap. 2015. Room 4. General view

A Figure Four Trap. 2015. Room 4. General view

L’Enseigne [How to Train Your Dog]. 2015. Printed cardboard slipcase, painted wood and second hand book. 35 x 29 x 4.8 cm

L’Enseigne (Fig. 122). 2015. Pigment print mounted on aluminium. 52 x 77 x 3.5 cm

Chasses aux pièges 1-2. 2015. Antique book bound in two volumes & pink ribbon. 2.2 x 13 x 21 cm

Chasses aux pièges 1-2. 2015. Antique book bound in two volumes & pink ribbon. 2.2 x 13 x 21 cm

A Figure Four Trap. 2015. Room 4. General view

A Figure Four Trap. 2015. Room 4. General view

Hanging Figure Skates #37. 2015. Used pair of figure skates and white lace. 280 x 30 x 25 cm

A Figure Four Trap. 2015. Room 4. General view

A Figure Four Trap. 2015. Room 4. General view

Press release

The gallery Luis Adelantado Valencia is pleased to present “A Figure Four Trap” the first solo exhibition by French artist Yann Serandour in Spain.

It is said that the work of a historian might be to fill gaps, giving meaning to a series of events from documentary sources and build, as a novelist, a narrative with a purpose and a story that actually took place. The work of Yann Sérandour is similar to the work of the historian: the use of artifacts taken from their predecessors, potential accidents and possibilities, directing investigations and evidence of missing pieces in order to extend and question the stories. The work of Yann Sérandour often refers to conceptual art of the sixties and seventies, periods of special interest to him because of its abundant diffusion in the form of publications and prints – his favorite materials, although lately his attention moves to other fields and times more distant, than the strengthening of a temporal gap with our contemporaneity.

In the specific case of this exhibition, the gallery space and the characteristics of the rooms in both its dimension and its structure and symmetry have added a key element in generating the specific project for the gallery. The latest research from Serandour of primitive traps used to catch small animals like mice or birds will be the breeding ground in which he develops both formally and conceptually the project, “A Figure Four Trap” refers to a classic trap shaped like a number four

The sculptures, images or installations, many of them interstitial and mimetic, have their origin in existing works, publications and products which Yann reactive changing the topics. Embracing a conceptual view of art, he extends some historical expressions in other directions through infiltration, parasiting and “hijacking” operations. On one hand, these tactics are a way to reactivate —and sometimes to modify— the latent meanings of a work and, on the other hand, to interrogate the transformations of the historical, political and aesthetic issues associated with it.