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Né en 1959 à Rennes. Il poursuit des études de Mathématiques à l’université de Rennes I. L’ensemble "Cette femme-là", en 1983 pose ses principaux axes de travail : mises en scène dans un dispositif paramétré de manière rigoureuse, utilisation du médium dans sa spécificité propre, travail sur ses proches et son environnement, vision intime et en gros plan, objectivité quasi scientifique. Il est membre fondateur du groupe Noir Limite 1986-1991. Après des travaux exclusivement en vidéo We Others (1996 -1999), il revient à la photographie en élargissant son champ d’application de l’image photonumérique à l’image électronique obtenue au microscope tout en multipliant les supports de diffusion pour des images autour de ses thématiques de prédilection.

http://ddab.org/fr/oeuvres/TREMORIN

http://www.tremorin.net/


17 - 21 octobre 2012
SLICK PARIS - Stand B7
Participation de la Galerie des petits carreaux à Slick Paris, pour la 7ème édition de la foire d'art contemporain.
Le Garage, 66, rue de Turenne, 75003 Paris (Haut-Marais), France
http://www.slickartfair.com/paris/fr

Néon Boy

Thugs

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19 au 22 avril 2012
Yves Tremorin - Gilles Mahé
Stand n°15
Wild Gallery - Bruxelles
11 Rue de Charroi / Gerijstraat 11 / Forest
1190 Brussels
http://www.slickartfair.com/brussels/fr/

La dérivée méxicaine

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After studying mathematics in numerical analysis, it is dedicated to photography. His main areas of work are: staging a device set rigorously, the use of the photographic medium in its specificity own, working on his family and his environment, intimate close-up vision.
He is one of the most important french photographer on the contemporary photographic scene and he exposes regularly in France and in other country.

“The contemporary photography, as long as it seeks to build not in the power of the moment, but with an awareness of the deliberate anachronism symbol, knows replay, activate, update all or nearly all modes of representation, even older. Trémorin requires a sense of old power: the emblem. Index without any nostalgia for the forms and historical languages. Trémorin reached the register of the emblem by an attentive and accurate, great vigilance to economy of the image that has long nur- tured his artistic career: an economy understood not in the sense of reduction, research technical means, as of this point of view, the artist does not redefine anything and regularly changes, to the sophistication if it is necessary. The issue is much more than the economy of the path of what mean- ing can claim contemporary images, the economy of their reading. Functions descriptive, allusive or emotional most often put on the market images, Trémorin prefer functioning closest to the symbol.”

Extract from L’emblématique Trémorin, by Christophe Domino in catalogue “Images au Centre 05”, Editions le Point du Jour, 2005.