Yoan Robin

posted by Seoul Art Space_Geumcheon , ,
Yoan Robin
e-mail : yoanrobin@yahoo.fr

EDUCATION
2007 ENSAV La Cambre, Typography, Graphic Design, Master Degree, Brussels
2004 Fine Art School Le Mans, Master Degree, France

SELECTED SOLO EXHIBITIONS
2017 The Sweeping Waltz, video performance, Photo Kathmandou Festival, Patan, Nepal
2016 Trying to make simple things, Siddartha Art Gallery, Katmandou, Nepal
2016 The Sweeping Waltz, video performance in the streets of Patan, Patan, Nepal
2009 Ink on Paper, Vitrine Flow, Brussels
2008 Happy Happy, v-tro gallery, Brussels
SELECTED GROUP EXHIBITIONS AND PROJECTS

 Exhibitions, Group Projects
2017 Nature For Life, Art Symposium, Nepal Art Council, Katmandou, Nepal
2016 Mais aux lieux du péril croît aussi ce qui sauve, Ursulines, Brussels, Belgium
2016 Festival O.V.N.I 2016, La Zonmé, Nice, France
2014 Hardness, Blackness, Galerie Alain Lebras, Nantes, France
2013 Solstitium hibernum, Studio Mommen, Brussels
2012 7 poses, Studio Mommen, Brussels
2012 Paradise Now, Imprimerie éphémère, Brussels
2010 A particular action in Recyclart, Brussels
2010 Show in a water tower, Tourcoing, France
2005 Shrapnells, Palais des Congrès, Le Mans, France
2005 Emerge and see Festival, Trafó, Budapest, Hungary
2005 Noise Experiment, Voisin-le-Bretonneux, Paris, France

Other artistic activities 
2009 Assistant and lecturer in Fine Art School ENSAV La Cambre (typography and graphic design), Brussels, Belgium

2007 Graphic Designer (web, print) + Motion Designer for RTBF (Belgian television) and various movies and documentaries

RESIDENCIES AND AWARDS

Residency Career
​2017 Nature for life, Art Symposium, Langtang National Park, Nepal
2015 - 2016 Gallery Mcube, Patan, Lalitpur, Nepal
2015 Kathmandu Contemporary Art Center, Patan, Lalitpur, Nepal
2013 Nomadic Residency throught various cities and villages in Nepal
2012 Studio Mommen, Brussels, collaboration with Stefan Piat and Benoit Grimalt,
2005 Erasmus at Intermedia Department, Hungarian University of Fine Arts, Budapest, Hungary

Awards and others
2017 Digital and interactive art creation grant (Belgium ministry of culture)
2016 Art and creation grant (Belgium ministry of culture)
2015 – 2016 Financing for 3 artistic residencies



WORDS WITHOUT MEANING / WHAT YOU SEE IS WHAT YOU GET
 sign-boards, enamel paint (2016-2017)


As I started a collaboration with a Nepali sign-painter since 3 years, this works are a way to end up. Narayan Maharjan participated in the announcement of a performance by creating a panel where the written text is a pangram (text containing all the letters of the alphabet), as well as two others where the phrases inscribed are a critique of the illustrations we created together during 2 past residences I had in the W valley. On one board, one side show some of my illustrations, and on the other the sentence ‘Words without meanings» explains ironically what they’re supposed to be : word as ideograms and vice-versa.










PLAY / READ
 video installation, book, video-screening (work in progress, 2016)

The initial idea is those of a simple device: an open book on which a video is projected.
(Teaser accessible at this address: http://yoanrobin.xyz/bookvideo)

When the reader turns the pages of the book, a video is read and projected onto the paper. This book is placed on a table and the video projector installed on top in order to project an image on the surface of the open book. The pages of the book are partially printed to receive the projected image. As an obvious fact I try to question the possible displacements of the book to the video, formally or semantically : the report of the open format of the book with those of the video screen, the right and left pages with the
notion of shot and reverse-shot, the book-cover with the opening title, the pagination with timecode, the footnotes with voice-over and subtitles, the colophon with the credits....






NEPALI STYLE WOOD CARVING
 installation, carved wooden beams, photo and video archive (2016)

  
Installation of decorative elements on the wooden beams maintaining the damaged walls of temples, houses, patis, since the earthquake in 2015. Wooden elements carved in traditionnal nepali style, in order to include this "temporary" beams in the architecture.

Located temporarely in 4 places, (until necessary fundraising for the
restoration) :
• Pimbahal Pokhari Krishna Mandir
• Tapahiti Mandir
• Gajendra Mokshya Mandir
• Narayan Mandir








NOMAD MOVIE SCREENINGS ON THE WALLS OF PATAN
 performance with videoloop (2015 & 2016) 


During two hours in february 2016, I invited people to follow my moviescreener cart in the street of Patan, Lalitpur in Nepal.I screened the videoloop of a nepalese lady sweeping the dust, 
the bricks,the almost collapsed walls and temples (due to the recent earthquake). The cart I drove is one of those used by the street peanuts’s seller. I equipped it with a battery, laptop, sound-system and projector.








TRYING TO MAKE SIMPLE THINGS / TRYING TO MAKE THINGS SIMPLE
 60 number plates, enamel paint (2015-2016)


This project is the product of a collaboration with a nepalese craftsman, Narayan Maharjan. During 5 months, I gave him weekly drawings I asked him to compose of metal sheets. He painted 10 metal sheets and 40 number plates

« What unites the various configurations of the artistic use of the world gathered under the term postproduction is the scrambling of boundaries between consumption and production. “Even if it is illusory and Utopian,” Dominique Gonzalez-Foerster explains, “what matters is introducing a sort of equality, assuming the same capacities, the possibility of an equal relationship, between me - at the origins of an arrangement, a system - and others, allowing them to organize their own story in response to what they have just seen, with their own references.» 

In this excerpt from Postproduction Nicolas Bourriaud talks about the artist’s relationship to the viewer already questioned by Duchamp. 

Two places I also would like to exchange :
artist / craftsman
artist / viewer
consummer / craftsman
consummer / viewer






CONCEPTS
 watercolor or linocuts, 42x30cm (2014-2016)


An attempt to represent abstract concepts. Subjective, and individual visualization. Assembled in pairs, in trio : the elements used to represent concepts are repeated, transformed and give shape to my thoughts. Each concept consists of one or more elements that can be found in other concepts. Like prefixes, suffixes or liaisons, these elements are used to create a vocabulary. The idea of a game both in the approach and in the depicted shapes and the colors used.





KUT ON GUT
 book 70 pages, print, drawing, blue pen (2013)

  
in 2013 , during a nomadic residence in Nepal, I started a project of blue ink drawings inside a printed book.
The book used as a notebook seemed the perfect medium to project my ideas, to draw the landscapes that I saw : a record of moments, a wish, a way to take the time to really see, to remember. Printed pages of the book provided me an adequate editorial support to add to my drawings a literary dimension as a mix between two worlds : outdoor landscapes and interior landscapes. My drawings were added to existing content and a to structure defined by blocks of text and chapters. Because the drawings I did in the book partially covered the pages, revealing some words that, read together reconstituted a new story , like cut-up, Dadaist collages or simple poems.

Travelogue book made in Nepal during 3 months in various places.





CARTOGRAPHY 1
 drawing, pencil, paper, 4x3m installation (2012)


Mapping of everyday objects in a scale of 1/1 and in a larger scale. 

step 1. A pebble was wrapped in thin graph paper. By rubbing a pencil against the paper, I made a «field survey» in a scale of 1 :1.

step 2. The rubbed paper was laid flat. On a piece of graph paper, 5 times larger in scale, I transferred the lines to the corresponding squares. 

The story elaborates on a concept in Lewis Carroll’s Sylvie and Bruno
Concluded : a fictional map that had «the scale of a mile to the mile». 

One of Carroll’s characters notes some practical difficulties with this map and states that «we now use the country itself, as its own map, and I assure you it does nearly as well».

BOOKS : APOCRYPHA, Mr Loggerheads
 book and video (2007)


Another Apocrypha, the Mr. Loggerheads paperback. A video initially titled «What keeps mankind
alive?» was distorted. The subtitles no longer correspond to the soundtrack but have to do with the fake book and 
with the fictionous character, Mr.Loggerheads.


Seoul Art Space_Geumcheon