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Ce devant quoi

A collective exhibition by Yann Sérandour
gb agency, Paris
March 26 - May 7, 2021


with Dove Allouche, Eva Barto and Sophie Bonnet-Pourpet, Robert Breer, Elina Brotherus, Mark Geffriaud, Tirdad Hashemi, Július Koller, Jiří Kovanda, Roman Ondak, Pratchaya Phinthong, Pak Sheung Chuen, and works of Genevieve Asse, Lynne Cohen, Adrian Frutiger, and Hans Haacke.

Opening
Saturday March 26
4 p.m. - 7 p.m.

Exhibition
March 26 - May 7, 2022

Exhibition view, Ce devant quoi, A collective exhibition by Yann Sérandour, gb agency, Paris.
Photo A. Mole

Exhibition view, Ce devant quoi, A collective exhibition by Yann Sérandour, gb agency, Paris.
Photo A. Mole

Exhibition detail, Ce devant quoi, A collective exhibition by Yann Sérandour, gb agency, Paris.
Photo A. Mole

Exhibition view, Ce devant quoi, A collective exhibition by Yann Sérandour, gb agency, Paris.
Photo A. Mole

Exhibition view, Ce devant quoi, A collective exhibition by Yann Sérandour, gb agency, Paris.
Photo A. Mole

This collective exhibition was born from a questioning: what necessity would there be to produce, again and again, new works of art in an ever more shaken world? Why make, for whom, how, on what occasions and in what places? In their implications, the notions of project and productivity have become inadequate for me, in favor of the much more desirable notions of unconstrained temporality, of attention, of listening, of receptivity to what is present or to what is happening. This way of being open to chance encounters at the cost of a more or less long wait has always guided my work. It seems to me good enough to be continued.

From then on, what can be shown in the gallery that can free itself from this injunction to produce, without falling into the renunciatory attitude that would consist of showing “nothing” and going to see elsewhere?
Instead of an exhibition of the latest works, ce devant quoi proposes a selection of works taken from the gallery’s reserves as well as some collected works that may have influenced my daily life. From one horizon to the other, it places the question of the link and the transmission in the heart of its attention.

This look at the gallery and the artists it supports is mixed with a few other recent personal finds that echo the leitmotivs that have marked my artistic journey: the thresholds and the frames from, or in which works of art are experienced, the derivation of sources through time, space or environments, the links and echoes that they secretly conceal, the confinements or escapes that they index. Confidence sometimes crosses social or political coercion.

More distant stories dialogue there by sharing here and there motives which agree the time of a setting in common: with the turning of an angle, under the prism of a changing light, or by the means of a more or less adjusted alignment.