Biography

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Sébastien Goy (France, 1975) received a Master's degree in telecommunications and a Master of Advanced Studies in artificial intelligence and pattern recognition. He is currently a BFA candidate at the [http://www.gerritrietveldacademie.nl/ ''Gerrit Rietveld Academie''] in Amsterdam.
Sébastien Goy (France, 1975) received a Master's degree in telecommunications and a Master of Advanced Studies in artificial intelligence and pattern recognition. He is currently a BFA candidate at the [http://www.gerritrietveldacademie.nl/ ''Gerrit Rietveld Academie''] in Amsterdam.
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His artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. He questions the relationships between these instances, studies their collisions, their discursive cannibalism. Sébastien engages these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on his own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. His works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy.
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Sébastien faces the arbitrariness of our visual culture with professional phlegm and a bit of anxiety. Some images deserve to be treated differently, he feels, because they retain a delicate significance, beyond his own emotional and aesthetic take. From his collection of photographs or video, some are simply poached and some made by him - these are usually contemplative registrations and straight snapshots. An approach he currently explores to preserve these images from assimilation into mute content is to give their constitutive absence a specific presence, to endanger their immateriality with a physicality.
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Physicality is also preferred to come to terms with Authority - this aspiration is another salient aspect of his production, felt necessary to situate his artistic practice. Sébastien studies the forms Authority silently adopts in its political, scientific and artistic instances, the means of legitimation they deploy; he questions the relationships between these instances, investigates their collisions, their discursive cannibalism. These forms and means are then appropriated in performances, site-specific operations and drawings that oscillate between naive resistances against the powers that be, ironic bravados, critical plays on legitimacy and sheer ''détournements''.

Revision as of 12:07, 25 May 2011

Sébastien Goy (France, 1975) received a Master's degree in telecommunications and a Master of Advanced Studies in artificial intelligence and pattern recognition. He is currently a BFA candidate at the Gerrit Rietveld Academie in Amsterdam.

Sébastien faces the arbitrariness of our visual culture with professional phlegm and a bit of anxiety. Some images deserve to be treated differently, he feels, because they retain a delicate significance, beyond his own emotional and aesthetic take. From his collection of photographs or video, some are simply poached and some made by him - these are usually contemplative registrations and straight snapshots. An approach he currently explores to preserve these images from assimilation into mute content is to give their constitutive absence a specific presence, to endanger their immateriality with a physicality.

Physicality is also preferred to come to terms with Authority - this aspiration is another salient aspect of his production, felt necessary to situate his artistic practice. Sébastien studies the forms Authority silently adopts in its political, scientific and artistic instances, the means of legitimation they deploy; he questions the relationships between these instances, investigates their collisions, their discursive cannibalism. These forms and means are then appropriated in performances, site-specific operations and drawings that oscillate between naive resistances against the powers that be, ironic bravados, critical plays on legitimacy and sheer détournements.

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