Works at: Seoul Art Space_GeumCheon
Stays in: 2014
Genre : Installation, Video-installation
2012 Ecole Superieure des Beaux Art de Tours, DNSEP (Diplome national superieur d’expression
2010 Ecole Superieure des Beaux Art de Tours, DNAP (Diplome national d’art plastique)
2014 Loop Around, Cheongju Art Studio, Cheongju
2014 Sound storage, Beomeo Art Street, Deagu
2014 Tamed by night, Wumin art center, Cheongju
2013 The 10th Busan International Video Art Festival, selected Korean artists in competition, Busan
2013 Eye and Heart, Korean kraft Museum, Cheongju
2013 Crises, Art Connections, Brasov, Roumanie.
2012 Participant Alternative Film Video Festival, Belgrade, Serbie
2012 Contre-point, ESBAT (Ecole des beaux Art de Tours,Angers,Le Mans), France,
2012 Modele Standard, L’ile Moulins’Art, Le Mans, France
2012 Sculpturation, Abbaye Royale de Fontevraud, France
2011 Masala reaction, New Delhi, India
2011 Exposition, Alliance Francaise in Mahe, Kerala, India
2014 Seoul Art Space Geumcheon
2013 The 7th Cheongju Art Studio , Cheongju, Korea
2012 Residency L’ile Moulins’Art, Le Mans, France
2011 Residency Shilpapaddyam, Kelara, India
Installation view (Loop around), 2014
Plant, video, woodbox, one-way mirror, 2014
Cutting piece, installation,foam,wood,2014
Tertium Comparationis, what is he looking for?
Chun Mi Rim(art critic)
All the individual things have a destiny which has to be differentiated with the others. The art is often skeptical about a society's premises. Lee Youna and Aurélien Duchesne participate in the group, Collectif Ylur, and they grasp the boundary point where many people generally overlook in the process that the world and life progress. Through the work, they refuse all the existing logics and rules. The creative process blurs, stamps down the boundary and contemplates the bundle.
Collectif Ylure generally presumes a dual concept on all the elements of the works. But, their purpose is not for the 'dual' which depends on the simple, arbitrary classification and concept. They focus on spotting a contradiction, changing it into the tertiary object and individualizing it. Their work interconnects the two natures composed of absurdity and inconsistency and then creates a new entity through the invisible context of a power. A creation as a reaction against something, a grasping power lumping the differences together, and all the processes of interconnecting reality and imagination by joining the different time and space, and then composing the physical effect descriptively is achieved by the power. The power is not only a ability as a artist, but also a theme which they want to deal with, and the elements composing the objet. In addition, this is an exercise of power and at the same time ablation of power which an artist has in the creative process. There is a clearly differentiated point with the others in their works. Especially in the point that they keep distance from the creative process as a objective watcher with the intention after stopping the intervention.
A principle of power composes the narrative of their works. This narrative is coincident and fictional. This refuses the rule of the fatalistic determinism which the objet and the physical power has and envisions a non-deterministic world through restructuring the object. That is to say, it doesn't mean that because the physical object is placed in the computable rule, we can naturally predict it, but that it is the non-deterministic narrative which presents the possibility of coincidence and free will. We can see this intention in the works,「Chenille」and「Loop Around [installation]」. While the artists maintain the non-deterministic view through leaving the work and not intervening the autonomy which the work itself take the initiative, they make the coincidence feel to be fictional through the intentional movements which draw the process itself into the category of art.
Although somewhat relative, there is more positive process which deals with the objet. At this time, a flexible property of matter is selected as a objet to intervene. The objet which has a easily changeable nature itself is connected with each other and dispersed through various variation. In cases of「Glue」,「Foam Cutting」, all the occasions made from the combination of the physical flexibility and autonomous movements are instantly transformed into a visual story. The antagonistic relationships between coincidence and prediction, autonomy and composition, intervention and contemplation are permeated into the objet in a tangled form.
Recently, they step further to pay attention to the fiction. The fiction can be represented as fiction and narrative, and it is to grasp the unpredictable movements within it while forcing the artificial selection, such as lighting camera, sound, method of observation. In「 Labyrinth」, although the power, autocinétique, is artificial viewed from the side of motivation, but also dramatic in the aspect that the result is natural. Although the sound device of「Them」(quoted from the sound in the movie, ‘Them’) makes the simple kneading flour dough into the dramatic narrative, in the aspect that it is only visually the physical movements, it exists itself in its state. They intervene and then withdraw. Recently, they show not only these activities more clearly, but also force a strong tension on the people who view the works. The objet becomes the protagonist of direction and synopsis at the same time. At this time, the artists make only the Schrodinger's Box.
Once, in his diary, Franz Kafka wrote that he waited the word, Tertium comparationis, behind the word, principium. The unconscious, natural association of this alliance reminds us of the movements of Collectif Ylure. The process which understands the different attributes and forms composing the source of object and recreates them returns to the fundamental attributes by leaving aside them. The interesting point is that Lee Youna and Aurélien Duchesne themselves play for the role as a Tertium comparationis. The artists interconnect the two's different worlds as a individual person into one under the title of Collectif Ylure, and hide behind the shapeless figure mask called ‘anonymous’. The mask is the world which 'he or she' doesn't see but 'they' do see, and somewhat ridiculously, is replaced into the view that anonymous 'he or she' see again. and then, we can ask at the turning point of the process. that is, now what can he see?