ARIANE YADAN arianeyadan.com rue Camille Flammarion 44000 - Nantes - France ...
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ARIANE YADAN + 33 6 21 93 93 68 ariane.yadan@wanadoo.fr arianeyadan.com https://www.instagram.com/ariane.yadan/ 72, rue Camille Flammarion - 44000 - Nantes - France
ARIANE YADAN
Born in1987 in Paris, France.
Lives and works in Nantes.
Graduated from the National Diploma of Visual Arts in 2013 at the Nantes Superior School of Fine Arts, France.
...SOLO SHOWS
2017 - La Maison de la mariée, Gallery Confluence, Nantes, France.
2016 - T’es belle quand tu pleures, Atelier Alain Le Bras, Nantes, France.
2015 - Je n’ai plus rien à te dire sauf que je t’aime, Fund of Modern and Contemporary Art, Montluçon, France.
...GROUP SHOWS
...2018
- Expolaroid, l’Oeil à Facettes gallery, Lormes, France.
...2017
- Doloris, exhibition and curation, Fragile artist-run-space, Nantes, France.
- Collectionner, Le désir inachevé, Fine art museum of Angers, France. november 2017- march 2018.
- Make it Last for Ever, Ateliers Millefeuilles, Nantes, France.
- Miroir, Fragile artist run-space, Nantes, France.
...2016
- publication of the book «La Maison de la Mariée » by Joca Seria editor : book gathering photographic work in Polaroid since 2013.
Interview with Frédéric Bouglé, director of the art center « le creux de l’Enfer», Thiers, France.
- FID : Marseille International Film Festival, « Scream Queens » movie broadcast in « Parallel Screens » category.
- Stonehenge, Gallery RDV, Nantes.
- Les Naufragés, Museum of the Holy Cross Abbey, Les Sables d’Olonne, France.
- Carte de Séjour, gallery Gongdosa, Art bHall GONG, Seoul, South Corea.
- Anatomie du Labo 8, centre Camille Claudel, Clermont-Ferrand, France.
...2015
- Burashi No Oto, Hanma Chinmoku, Ateliers Millefeuilles, Nantes, France.
- Opening Dulcie, presentation of the acquisitions of the arthotheque of Nantes, gallery of the Nantes Superior School of Fine Arts.
...2014
- La Mort à l’Œuvre, private house, Bobigny, France.
- A la Vie, A l’Amour, studio show, Pantin, France.
...2013
- Le Clou 9, l’Atelier, Nantes, on an invitation from the Friends of the Fine art museum of Nantes, France.
... RESIDENCIES / WORKSHOPS / ARTISTIC AND EDUCATIONAL INTERVENTIONS
...2018
march - Guest artist at the symposium organized by the Museum of Fine Arts in Angers: « The collector’s commitment to artists »
...2017
april - Supervision of an international research project for the Fine Arts School of Nantes : workshop in Mexico City for Master 1 students.
The projetct entitled « Desfiles» took place in Mexico City, in resonance with the celebrations of Holy Week.
Creation of the workshop with the Linares artists in Mexico City and supervision of the 5 students selected for the project.
...2016/2017
Supervision of the workshop entitled « Parades » for the Fine Arts School of Nantes.
Conception, scripting and creation of the elements of the inaugural parade for the opening of the new School of Fine Arts in Nantes in June 2017.
Conception of the workshop and the parade project, follow-up of the feasibility with the municipality, management of the budget envelope and ephemeral production
workshop set up for the project.
...2015
Creative residency of 6 months in Shakers, Montlucon, France.
...2014/2017
Teacher for the «Visual Arts» teaching unit, and «Printing Techniques», Open Design School, online school.
Tutoring missions and course design in e-learning.
...2015/2018
Artistic practice workshops for an audience of adults with disabilities, home services Crucy, Nantes.
...2015
- Artistic workshops as part of the Classes for Artistic and Cultural Projects : Madame de Staël high school, and Jean Racine Elementary School, Montluçon, France.
- Visual arts teacher, École La Fontaine, preparatory school for fine arts, Montluçon, France.
...2009
- Artistic practice workshops for young patients in a closed psychiatric environment, Saint Jacques Hospital, Nantes.
...COLLECTIONS ...PRICES, GRANTS ...NOMINATIONS
...2013/2017 ...2016 ...2016
Private collections Creation grant, Pays de la Loire preselected for a residency at Casa
region. de Velasquez in Madrid.
...2015
Shakers Contemporary Art Fund ...2014 et 2016
nominated at the Visual Arts Prize of
...2013 the city of Nantes.
Collection of the Arthotheque of the city of Nantes
...PUBLICATIONS
...PRESS
...EDITIONS/PUBLICATIONS
2016
- Ouest France for the exhibition T’es belle quand tu pleures. 2017
- Magazine le Haut Parleur : T’es belle quand tu pleures. - Publication of the book « La Maison de la Mariée » by Joca Seria editor : book
- Web TV VLIPP : « Contemplative Message show » broadcast gathering photographic work in Polaroid since 2013. Interview with the art critic Frédéric
for the exhibition T’es belle quand tu pleures. Bouglé.
- Publication in the thematic artistic journal RAB numéro 2 «(G)lucides».
2015
- Fragil.com, cultural magazine online about the private collection 2016
of french collector Alain le Provost. Publication in the bi-annual thematic artistic magazine Gros Gris
2014
- La Montagne daily newspaper, article for the Shakers residence in Montluçon. 2015
2012 - Bansheee, édition collective éditée par les éditions Chambre Charbon.
- Ouest France daily newspaper, article forthe exhibition- - Cruauté, collective edition edited by the artistic collective Point Noir.
Immondes Œuvres de Jeunesse.
2011
- Self edition My Wishes for a Better World, hand-bound book, 20 copies.
...RADIO
2017
- France Bleu Loire Océan - Interview for the workshop « Parades »
conducted at the Nantes School of Fine arts
2016
- My Sun Radio : Interview for the exhibition T’es belle quand tu pleures.
I think that there is in my work in a rather simple way and especially since the last two years, a form of autobiographical narration.
The practice of the self-portrait is in any case continuous. It is one of the main axes of my work although it is not the central pillar. I like the simple idea of using myself as
a model, incarnating the same individual, but also a character who becomes the complex addition of different emotions, states of mind, multiple alterations. Some of my
works stem from a desire for integrity, and they are simply meant to show who I am. The incomprehension of adult life, the complexity of relations with others, with oneself
and with the couple, have been transformed in some works into humorous postures or with a nostalgic atmosphere where a narrative configuration brings together the
works under a single idea.
The concept of vanity or «memento mori» is also widely spread throughout my practice and allows me to question a long pictorial tradition that has made death an
iconophile subject. Often inspired by classical art and Christian painting with its singular pictorial forms, its allegorical, mythological, religious stories, or also by various
comic book authors and by the culture of midnight movies, I try in some places a mix of forms from popular culture with more traditional forms.
Sculptural forms then appear to offer the vision of a wobble reality : everyday objects undergo transformations, suggest inexplicable phenomena with a surrealist and
dreamlike potential. I try to maintain, thanks to a work on the scale and staging of my work, a relationship to the work where the proximity to the object also implies a
distance. The discovery of the work is sometimes done in a movement of the viewer, and a constraint from the point of view through visual devices or specific staging.
I would like the point of view and the experience of the work to elicit as many poetic and sometimes comical feelings as a form of interrogation on the precariousness of
human existence.
Ariane Yadan
A structuring tension rather than a theme, rather than a genre, the Memento mori is the anguished world in which the artist’s work develops.
We will therefore remember each time (with each new artwork) that we are going to die, that we were already dead before being born, that death,
in multiple forms, is everywhere.
Tragic program, certainly, but whose realization, multiplying references and winks, could be exhilarating.
Gilles Lopez
Untitled or Guillotine, 2014 oak, steel, cotton, lace and various materials, 75 x 45 x 40 cm. - private collection Views of the exhibition «Collectionner, le désir inachevé», Museum of Fine Arts, Angers, 2017-2018.
Shroud, 2017 porcelain laminated on wood, mirror and various materials, 60 x 40 cm. Views of the exhibition « Doloris », Nantes, 2017.
Baby, 2017
Artwork in collaboration with the artist Aurélie Poinat.
Oak, oil and acrylic painting, ceramics and various materials. 50 x 25 x 30 cm.
The sacred place, 2017 porcelain laminated on wood and various materials, 60 x 40 cm
The sacred place, 2017 porcelain laminated on wood and various materials, 60 x 40 cm.
The sacred place, 2017 porcelain laminated on wood and various materials, 30 x 25 cm.
Deux Coeurs ou Chéri(e) Je T’aime, 2015 Two black patinated bronze hearts, various metals and gearbox modules, approximately 30 x 30 x 15 cm. The system rotates and is handled using the crank.
Coffin for two, 2015 walnut, Brazilian rosewood, brass, ashes, 45 x 25 x 20 cm.
The sacred place, 2017 porcelain laminated on wood and various materials, 30 x 25 cm.
The sacred place, 2017 porcelain laminated on wood and various materials, 32 x 17 cm et 30 x 25.
The sacred place, 2017 - private collection porcelain laminated on wood and various materials.
The sacred place, 2017 porcelain laminated on wood and various materials, 30 x 28 cm et 17 x 6 cm.
The sacred place, 2017 porcelain laminated on wood and various materials, 30 x 28 cm et 38 x 35 cm.
Self-portrait during a lucid dream, 2016
erthenware and various materials.
approximately 55 x 45 x 30 cm.Play, 2016 - private collections lead fighter snails. scale 1.
Self 1 and Self 2, 2013 - private collections digital photographs printed on Epson Glossy Museum paper, 100 x 60 cm.
Scream Queen Panoply, 2015 - private collections digital photographs printed on Velin paper , 42 x 60 cm.
Halo, 2015 brass, silicone, natural hair, water, 40 x 10 cm
Throne, 2016 oak and painted earthenware, about 80 cm high.
Still Lifes, 2011 The « Still Lifes» (...) are photographic portraits. On uniformly black grounds, three Christian saints are represented by three groups of objects, their attributes. The artist selected specific features in the biography of the saints to help their identification : objects, animals, physical singularities. In the classical painting, they conveyed an iconic message strictly regulated, codified. They accompanied the painted bodies, induced postures, brandished or floating in the image as signs on the page. (...) The three loafs of bread and the long hair designate St. Mary of Egypt; sheepskin and the silver tray refer ton Saint Jean Baptiste ... But for the contemporary, custodian of a lacunary cultural heritage, the « Still Lifes» do not constitute texts that should be read, they are more a riddle to interpret. It is not only the human figure that has disappeared, it is the coherent set of reasons provided by Christian iconography that has become opaque, cut off from the faith that gave birth to it. The connivance that objects establish between them then replaces the one that men had sought with their creator, through the intercession of the saints. The objects dialogue with one another : nature, dead for us, lives its own life, silent ... our remains are welcome, if we remain deaf to its call. Contemporary art is Christian, said Catherine Grenier. Post-Christian certainly, Ariane Yadan would answers, and, therefore, posthuman (losing God, the man loses the mirror that reflected his face: he lost himself). But it is also post-pagan : the sculptures she makes refer to a time that humans once shared with the gods (with the immanent forces of Nature) without believing in her possible return. Gilles Lopez
Still Lifes 2011 private collections digital photographs printed on baryta paper, 27 x 41 cm. previous page and above: St. Margaret of Egypt, St. John the Baptist, St. Janvier.
About Ariane’s Polaroids by Gilles Lopez
In his « The Logic of Sense », Gilles Deleuze develops a singular
conception of the simulacrum, where it is no longer the reproduction
of an original model, but the production of a fantasy (in Klossowski,
in particular). A simulacrum is not a degraded copy, but a machinery
that subverts the hierarchy of true and false, which establishes the
reign of their common collapse. It seems to be the same with Ariane
Yadan, who never reproduces a face without letting her obsessions
contaminate, subjugate.
(...) Her practice of instant photography also stems from the
hallucination, the projected vision. It is striking to consider the
multitude of singular objects, small scenes and strange situations
that the Polaroids have captured, by their proximity to the artist’s own
drawings and some of her sculptures.
It is just as if Ariane Yadan were confronted, during her travels, with a
collection of her works, already realized (ready-made), that her practice
of photography documents. This kind of « petrifying coincidences » has
been theorized by André Breton, with the notion of objective chance
or hazard, which links the « marvelous » phenomena of the real to the
forces of the unconscious. But the marvelous of the Surrealists becomes
a threat, when the artist sees there systematically the confirmation of
her obsessions. The evidential value of photography is then mobilized
in an anxious search for evidence - of what is happening ...
In the lens of her camera, the paranoid readymades are so many
pieces of evidence to add to the world’s trial.
There is in the simulacrum a mad-become, an unlimited future, wrote
also Gilles Deleuze.
Foin
2015
Polaroid 8,8 x 10,7 cm.from left to right :
Boris et Makiko, 2015 and Clément et moi, 2014
Polaroids 8,8 x 10,7 cm.from left to right :
Clément au bain, 2015 and Batteur, 2015
Polaroids 8,8 x 10,7 cm.from left to right :
Mariés, 2015 and Sans Titre, 2017
Polaroids 8,8 x 10,7 cm.from left to right :
La douleur est le supplément de l’amour, 2017 and Chandeliers, 2015
Polaroids 8,8 x 10,7 cm.from left to right :
Naipes, 2015 and Autoportrait mexicain, 2017
Polaroids 8,8 x 10,7 cm.Autoportrait en mariée, 2017 Polaroid 8,8 x 10,7 cm.
extract from the polaroid series « Une semaine de rêves » 2016-2017 Polaroids 8,8 x 10,7 cm. - both pictures on the right : private collections
extract from the polaroid series « Une semaine de rêves »
2016-2017
Polaroids 8,8 x 10,7 cm.La Maison de la mariée
november 2017, joca seria édition
size 20 x 26 cm, 160 pages, 400 copies.
Interview with the art critic Frédéric Bouglé.
Extract from the interview with Frédéric Bouglé.
Frédéric Bouglé: Why this title, the Bride’s House?
Ariane Yadan: I spent part of my childhood in the French Morvan countryside, in
the tiny village of Vézigneux, in my grandfather’s house. This is one of the places
where my imagination and my artistic intuitions were forged. It’s also here that I
started in 2013 my photographic work in Polaroid. My grandfather grew up in the
tiny farmhouse of his foster mother. Later, he bought this house which he named
«The House of Mary» in tribute to the woman who raised him. I remenbered that
name and changed it a bit. It became the «Bride’s House». This is actually what
I always thought I heard when this name was pronounced, probably because of
the morvandiau accent. This sweet title, in connection with some of my Polaroids
and sculptures may echo this couple that I have observed, the one that formed my
grandfather and my grandmother. Reminiscences of the desires of a dream married
life, in a bucolic universe, ideal, simple, where the house of the bride is located.
Perhaps unconsciously with this title there is a thought for Marcel Duchamp. In 2015,
I named my first personal exhibition «I have nothing more to say to you except that I
love you», taken from the reading of love letters that I had found in an abandoned
place. (..)
F. B. : And what to do with these clichés? And why even undertake to do them? I
remember a 1980s song by Luna Parker called The Spider Museum. The song uses
Spooky Allegory, warning a painter of the risks of trapping himself in the threads of
his own web. Precisely to expose and expose to the eyes of all - as in this edition itself
- images, which are as much fragments of intimacy in living vanities, could form a
sort of escape from the risk of emotional confinement
A.Y .: The polaroids are like a mirror of my emotional state, it is true, and the
photographic escape exists indeed! It undoubtedly represents a palliative to a form of confinement. I realize it especially through the eyes of others, spectators or relatives. They are
the ones who allow me to read something about myself, that I would not have seen alone. Their reactions to these images are often very paradoxical: some are dumb or hermetic,
and do not take the posture of empathy; the others sink into the spectrum of emotional states that I deploy with me. Among them, some are sometimes surprisingly upset, and it
moves me a lot. With what my images carry, there is an intimate relationship that settles with them. This can sometimes become uncomfortable even for me. The book reproduces
this space of intimacy..La Maison de la mariée
La Maison de la mariée
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