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Serge Le Squer

 
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RAWAWAR, 2007
(ReadAfterWrite/WriteAfterWrite/WriteAfterRead)
variable size and support


THE ELEVATOR LIBRARY
- This notion of pipe, like that, does not allow a complete view of the place at once. Maybe it is a translation, I would say topographic.
- But that’s not all. There also are images. It is important that in a place where one reads, where one works, that one can see the clouds go by.
- Are you speaking of the exterior elevator?
- Yes, but even that from here, I don’t know where it is.
- It is right there.
- The elevator has no memory, which is why sometimes we’re stuck in front of it. If someone else calls it before us, we’re without elevator. Some days we stayed. It’s true, why haven’t we built a memory elevator behind. That would help buy time, an elevator’s memory.
- You should press more on « elevator memory ». It’s a bit like what the Lu factory girl says : « yes, the machines, as soon as there are machines, you have to be careful. Some hands were lost in the machines. » What is an elevator’s memory? You can repeat the sentence.
- It’s true why haven’t we built a memory elevator behind. That would help buy time, an elevator’s memory.

The elevator library, 2001
Text ( French and English version), variable size and format
(Translation : Anne-Michèle Fortin)
http://www.documentsdartistes.org/artistes/lesquer/repro14.html


PARACORPS
For people who are forced to remain in the same position over long periods of time there is no miracle cushion makes going from bed to chair easy a hook fixed to a long wooden handle prevents users from bending down makes dressing up easy can also be used to grab clothes can be used by right-handed and left-handed people make daily life easier spread butter or jam easily using only one hand this seat is particularly recommended for people who work in a standing-sitting position sweep the floor without bending down a belt which offers increased support while sitting and prevents users from slipping forward knit with one hand only by fixing the needle to the table use it to lift the sheets without touching the patient this protection ensures the safety of agitated patients simple comfortable and highly effective quick to put on quick to take off

Paracorps (pas raccord/para-corps ; Not join/parallel body). 2000
Text ( French, English and Arabic version), duplicates on color paper, variable size(format)


WHERE ARE YOU HENRI JEAN PIERRE? 2005
2'50, stereo
http://www.documentsdartistes.org/artistes/lesquer/repro18.html

RE : EN GRÈVE (Re: on strike), 2007-2008
declines in diverse supports and sizes / impresssion / website / screenprinting / animation / videogame / banner
http://www.re-engreve.com
   

Serge Le Squer

1970 born in Lorient, France

Lives and works in Marseille, France

Group Exhibitions

« Since the beginning of 2000, Serge Le Squer has investigated the representation of the work as the paradigm of the public space. He photographs, films, registers the signs of the working class,producing a social and urban cartography. In 2003, Builders ,film shot in Beirut,gives short sequences in the course of which workers leave their worker identity behind to become the actor of his own fiction.
In 2006, thought the use of walkie-talkie scanner in the Goutte d'Or district (Paris), the sound work Where are you Henri Jean-Pierre ? reveals a parallel sound landscape, a zone of delocalized listening. This desire to place the artist physically in front of his subject, to give responsibilities to him, is always accompagnied by a preoccupation with discretion.
Here, the work of art will soberly try to connect scattered elements, proceeding toward a permanent assembly work. Taking reality as a point of departure and refusing mere subjectivity, Serge Le Squer immerses us in a documented story.
For Table d’hôtes, the artist chose to pursue a collection work begun one year ago on the subject of website on strike and web page about online strike, in which the momentary lock-out indicated by the webpage is revealing of a crisis, a space of media to be reflected.
http://www.re-engreve.com
In this occasion will also be presented the edition of a screenprinting RE : EN GREVE (Re: on strike), realized by Table d’hôtes in Kunstlerhaus of Stuttgart. » Stéphane Le Mercier, 2007.

Serge Le Squer participates in contemporary art exhibitions : Bruit de fond, Centre national de la photographie (Paris, 2000) ; Les commensaux, When Art Becomes Circumstance (Canada, Montréal, SKOL, 2000) ; Habitants, Habités, habitus, Rencontres Photographiques de Lorient (Lorient, 2001) ; Buy-sellf, (Bordeaux, 2002) ; Voyageurs des Temps, 22 Biennale d’Alexandrie (Egypte, 2003) ; Rendez-vous 2003, Musée d’Art Contemporain (Lyon, 2003), Temps qu’à faire,3 bis f, lieu d’art contemporain (Aix-en-Provence, 2005) ; Speed up your life!, Feld für Kunst, (Hamburg, 2006) ; Wildcats’ Dinner avec Barthélémy Toguo, Ateliers d’artistes de la ville (Marseille, 2006), Dématérialisation, La Box (Bourges, 2007), Table d’hôtes (Lyon, 2008). 2004, he participated in 72 (projets pour ne plus y penser), published by Fonds régional d’art contemporain Provence - Alpes - Côte d’Azur, l’Espace Ricard and Cneai. His sound work are distributed by the collectif Mu-Sound drop (Paris), and were to be programmed by the festival Engrenages (Marseille, 2005). His videos were to be programmed in the Festival Les Écrans Documentaires (Arcueil, 2000, 2004) and the Festival International du Documentaire de Marseille (Marseille, 2001), by the Cinémathèque de Paris in Jeu de paume cinema (Paris, 2004), Contemporary art center Espace Croisé (Roubaix, 2005), and in Rés do Chão, Rio de Janeiro, Brésil (2005) ; Festival Video art, Yokohama (Japon 2006).

   

Serge Le Squer

48, rue de la République
13002 Marseille
France

+33 (0)613142784
serge.le.squer@free.fr
http://www.documentsdartistes.org/artistes/lesquer




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