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YANN SÉRANDOUR, Folded to Fit, 2018

YANN SÉRANDOUR, Folded to Fit, 2018
84 x 59,4 cm (folded to 54 x 42 cm)
silkscreen print, wooden stick (80 x 1 cm)
signed, numbered
edition 15 + 10 AP
published by More Publishers, Bussels, Belgium

This edition is made after a found herbarium-page, for which a plant was folded to fit the book format. The work consists of an enlarged print of the page, then folded, following the irregular leafs and branches of the plant. The folded print is to be installed over a wooden stick of 80 centimeters long, nailed to the wall.


YANN SÉRANDOUR, Distorted (essay by Daniel Buren for John Knight’s exhibition catalog “Łeetsoii”) – red, 2016


YANN SÉRANDOUR, Distorted (essay by Daniel Buren for John Knight’s exhibition catalog “Łeetsoii”) – red, 2016
beech wood, comes in black and red sets of four different chairs
signed, dated on certificate
each edition 2 + 1 AP
published by More Publishers, Brussels, Belgium


black version:

multiples prints SERANDOUR, YANN

YANN SÉRANDOUR, One Week, 2014


YANN SÉRANDOUR, One Week, 2014
21, 6 x 17,7 cm / 22 x 18,5 x 0,5 cm
text on A4, folio folded out 37,2 x 44,7 cm
edition 50
published by Christophe Daviet-Thery, Paris, France

In 1969, Seth Siegelaub organized a group show “One Month” and selected 31 artists he invited to produce a work on their assigned day in March of that same year. As a kind of exhibition catalogue he produced a calendar of 31 pages entitled “March on 1969”, which included six blank pages corresponding to seven artists who turned down Siegelaub’s invitation (Carl Andre, Michael Asher, Dan Flavin, Sol Lewitt, Bruce Nauman and Ed Rusha and xxxx).


YANN SÉRANDOUR, L’ Espace lui-même, 2007

YANN SÉRANDOUR, L’ Espace lui-même, 2007
110 x 80 cm
screen print on newspaper
edition 100, signed, numbered
published by Cneai, Chatou and La Box – Cellule X, ENSA/École Nationale Supérieure d’Art, Bourges, France

The work of Yann Sérandour is similar to the work of a 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. He shapes works, often in the form of publications and printed matter, that aim to alter the meaning of a number of historical artworks in such a way that could be described as form of footnoting. Standing in line with this strategy, “L’Espace, lui-même” takes as its starting point a newspaper produced and edited by Yves Klein on Sunday 27th November 1960 and which focused on that day in particular. Overlooked by many was a small portion of the front page divested of anything visually recognisable, which Klein described as a representation of the space itself. It is Klein’s abstraction that Sérandour draws his attention to, vastly increasing its size and thus opening it out to new questions and further equivocal scrutiny and speculation.


YVES KLEIN, Dimanche 27 November – Le journal d’un seul jour, 1960
55,5 x 38 cm
letterpress on news print paper
edition unknown
For the “Festival d’Art d’Avant-garde” Yves Klein’s October 1960 had his work “Leap Into the Void” for the first printed in the artists’ single day newspaper Dimanche, which was sold at newstands throughout Paris on Sunday the 27th of November 1960, and often appeared side by side with the real French newspaper Le journal du Dimanche. On the same day Klein held a press conference at the Galerie Rive Driote at 11 am, to announce the project. The four page broadside featured visual works and writings by Klein, including the manifesto Theatre of the Void.


YANN SÉRANDOUR, Cahiers Clairefontaine, 2006

YANN SÉRANDOUR, Cahiers Clairefontaine, 2006
ca 22 x 17 cm, school notebooks with lined pages in six colours, stapled, each 32 pp.
edition 1500, of which 32 numbered, signed with insert of original ink drawing on tracing paper
produced by Cahiers Clairefontaine, Paris, France                

The printed grids on the notebook pages of ‘Cahiers Clairefontaine’ have been originally hand drawn by pupils of the Jules Verne Primary School in Croissy-sur-Seine in France and were reproduced in print. These notebooks are used for learning to write straight by making use of horizontal blue and vertical red printed lines. The edition is 1500 of which 32 are numbered and signed.


YANN SÉRANDOUR, Helvetica as Metallica, 2006

Helvetica as Metallica, 2006
wood cut print
49 x 59 cm
edition 20
numbered, signed
printed by David Liaudet, Esbam, Le Mans, France

The inversion of two extremely opposed visual identities. Helvetica is a sans serife font created in 1957 by Swiss graphic designer Max Miedinger (1910–1980) for the Haas Type Foundry in Basel. Metallica is an American heavy metal group formed in 1981 in Los Angeles.

artist's books SERANDOUR, YANN

YANN SÉRANDOUR, [Supplement] – A Needle In A Haystack, 2004


YANN SÉRANDOUR, [Supplement] – A Needle In A Haystack, 2004
24 x 17 cm / 23,9 x 16,8 cm
diptych card / printed inlay, offset
edition 50, neither numbered, nor signed as issued

This work comes with a catalogue raisonné “Specific & General Works” (1993) of Lawrence Weiner, of which Sérandour’s supplement is a derived version.

The price shown on the back of the book of Lawrence Weiner was 369 French francs, equal to 54,88 euros. Yann Sérandour seems to have said about the selling price of his supplement: ‘Les comptes ronds faisant les bons amis’ (i.e. “Precision in money affairs keeps friendship’), explaining the very precise price of 45,12 euros printed on the back of the diptych.



YANN SÉRANDOUR, BHKW, 2003 [badge]

Yann Sérandour, BHKW, 2003
diameter 32 mm
photograph Seth Siegelaub 1969
1st edition 100
2nd edition 200, produced in 2005
published by Alice Travel Cie, Paris, France

not available

Yann Sérandour made a badge from a photograph taken by Seth Siegelaub on the occasion of an exhibition in January 31 May, 1969. The image on the badge shows American conceptual artists Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner as the members of a rock band.