Yoan Robin
e-mail : yoanrobin@yahoo.fr


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


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

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


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

 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 theyre supposed to be : word as ideograms and vice-versa.

 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....

 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

 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 peanutss seller. I equipped it with a battery, laptop, sound-system and projector.

 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 artists relationship to the viewer already questioned by Duchamp. 

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

 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.

 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.

 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 Carrolls Sylvie and Bruno
Concluded : a fictional map that had «the scale of a mile to the mile». 

One of Carrolls 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.

Lyoudmila Milanova
e-mail : lmilanov@gmx.de


2008 - 11 audio-visual media arts at the Academy of Media Arts Cologne / Diploma
2001 - 06 Theater, Film and Television Sciences at the University of Cologne / M.A. Degree 1998 - 99 German and English philology at the Sofia University / Bulgaria 


2016 AER, individual show, Kunsthaus Rhenania, Cologne
2016 Birlikte, individual show, Schauspiel Köln (GR)
2014 On Material, individual show, Kunsthaus Rhenania, Cologne (GR)

2017 Fuhrwerkswaage, Cologne
2015 View from Above, group show, Flux Factory, NYC (US)
2015 First Person View, group show, Knockdown Center, NYC (US)
2014 Lange Nacht der Museen: Kunsthaus Rhenania / Galerie Le Coeur Cologne (GR) 2014 Kyoto Art Center, Kyoto (JP)
2014 Testlauf, group exhibition, Künstlerdorf Schöppingen (GR)
2014 Montévidéo, Marseille (FR) 2014 PACT Zollverein, Essen (GR)
2013 Kunstnacht, Museum Ludwig, Cologne (GR) 2013 Dear Painting, Glasmoog, Cologne (GR)
2013 MEGAMIX, One Minute Showroom, Krefeld (GR)
2012 Architekturteilchen, Museum für Angewandte Kunst, Cologne (GR) 2012 Im Abklatsch, Boutique am Ebertplatz, Cologne (GR)
2012 let's pee on rabbits, Wertheim, Cologne (GR) 2012 KARAT, Cologne (GR)
2012 new talents 2012, Cologne (GR) 2011 Palazzo Ricci, Montepulciano (IT)
2011 The Graduation Edition 2011, V2, Rotterdam (NL) 2011 ÉESI, Angoulême (FR)
2010 Grenzen, Raum Kalk, Cologne (GR)

Multimedia Performances / Scenography
2016 capri by night, curator of a permanent video screening in the public space, Schauspiel Köln (City Theatre Cologne)
2016 serpentine, curator of a multidisciplinary performance night, Schauspiel Köln 2015 *Evolution, an audio-visual dance performance, Kunsthaus Rhenania, Cologne
2014 video installation for Time is Time is..., Choreographers Ilona Pászthy, Hyeong Hee Kim, Cologne/Seoul
2013 video projection for Debussy Opera, Opera Göttingen
2012 video projection for Der Demografische Faktor, Schauspiel Köln 2011 video projection for MESSA DE REQUIEM by Verdi, Opera Cologne

2015 artvideoKoeln 01, Cologne (GR) 2011 Berlinale Empfang (GR)
2011 Abstracta, Rom (IT)
2010 annual exhibition at the Academy of Media Arts Cologne (GR)

Publication & Press
MOFF, art magazine, artist portrait, Cologne, April 2017
The Wall Street Journal, an article about the First Person View exhibition, NYC, August 13, 2015 Deutschlandradio Kultur, a long feature about the Debussy Project, Göttingen, January 11, 2014 new talents exhibition catalog, Cologne, 2012
Magazin Edno (art magazine), Bulgaria, 2011 offtopic #3, (art magazine), Cologne, December 2011
Metropolis, Arte, a feature about solid light, October 1st, 2011

since 2016 curator for Schauspiel Köln
2014 - 2016 multimedia projections at Schauspiel Köln since 2011 video artist for opera, theater, dance
since 2011 editor


Residencies, Grants 
2017 A.i.R. Residency Unlimited, NYC (USA)
2016 project grant Ministry for Culture NRW (mfkjks) 2016 project grant Kulturamt, Stadt Köln
2015 project grant by Kunststiftung NRW (Art Foundation NRW) 2015 A.i.R. FLUX Factory, NYC (US)
2015 A.i.R. PACT Zollverein, Essen (GR)
2014 Feldstärke International 2014, PACT Zollverein, Essen (GR) 2014 project grant by Stiftung Künstlerdorf Schöppingen (GR) 2013 A.i.R. Künstlerdorf Schöppingen (GR)
2011 The European Academy for Music and Performing Arts Palazzo Ricci, Montepulciano (IT) 2011 Exchange Program with the European School of Visual Arts, Angoulême (FR)

2015 Nomination for Villa Aurora grant (LA)
2013 Nomination for Nordrhein-Westfallen Award for young media artists (GR) 2010 Best of Porsche Award, Filmakademie Baden Württemberg (GR)

Seeing clouds from both sides
Inkjet print on fine art paper semigloss, paper roll 120 x 330 cm, mounted with white binder clips, 2016

Seeing clouds from both sides
 framed edition: Inkjet print on fine art paper semigloss, each framed in a floater frame out of mapple wood, white matt, 45 x 55 cm, 2016

Clouds, seen simultaneously from above and below. For this purpose, the artist photographed clouds synchronously from above and from below by means of a satellite camera. Once the satellite has reached the desired degree of latitude, it captured with its camera a frame of the clouds from above. As a center of the image it uses the position of the artist who, at the same time, captures the same cloud formation from below. Within a very short moment the two camera lenses point to each other.

Date and time of shooting the image: 14.08.2016, 12:04:58
Place (center of both images): Cologne, Jugendpark, 50.950333, 6.975583

The project is supported by Orbit Logic Inc. (USA) and KOMPSAT (South Korea)

 mixed media installation: postcards, 
postcard holder, stand, video projection, parachute, 2016

Installation view

        Midway, 305m above                  Red Woods, 888m above

    Yemen, 361m above                Mytilini, 627m above 


Simulation of aerial photographs simulating tourist snap shots.
The view from above turns the familiar world view into a neutral pattern. Distance and perspective let cities and nature loose depth and become relative. The images mimic tourists snap shots, simulating the artist point of view. This simple mark of a personalized gaze expresses the artists attitude to information represented through media and in general and the relationship to distant objects. On the other side, integrating a personal element into those objectified landscapes sug- gests a process of an appropriation of the other and the foreign.

 exhaust pipes, catalyst, 2016

The round object imitates the ancient Egyptian figure Ouroborus - the serpent, which bites itself in the
tail, a symbol of the eternal cycle, self-sufficient, but self-destroying. Here, the catalyst nearly devours the exhaust, while in the second one it is a metamorphosis of a snake, covered with a snake skin through a car tuning method.

chess deconstructed
 two-channel video, duration: 21 min, 2015

Two professional chess players play on a board without square fields.
Proportions and precision of the game are broken. At the same time, we see them performing movements and vocal score that reflects the process of thought during the game and more general, the 
in- scription of rules on the human body.

 audio-visual dance performance, duration: 22 min, 2015

The project is about time as a generator of identity and about repetition as a basic time-unit of the process of becoming .
If we look at the time in the present moment, it might appear as a point, a moment of standstill. By increasing the amount of time to a week, a month or a year, we recognize the repetition as the basic unit of time organization. Despite the daily re- turn of the same, differences arise between the individual repetitions that drive the process of growing. Due to these small variations of the same, we are able to experience a change, a progress. Rhythms and tempos belong to the articulation of the experience of time. The individual steps between standstill and movement and the elementary sensual discretion are central to the work.

linear simultaneity
Inkjet prints, size variable, 2014

Drawings from a swinging brush in the back of a car. On the left side: the gps tracking line and the length of the routes. The countless micro-states of a body during energy conversion are made visible as a chaotic pattern, but yet perceptible as line from the view of a satellite.

bus drive simulator
 wooden spring board, hand strap, audio instructions, 2014

Physical experience of everyday life is taken out of its usual context and placed in an isolated setting. A spring board and a hand strap offer the possibility to experience a bus ride outside of a bus, guided by a voice giving instructions. The work focuses on the subtle body movements we try to control during a bus ride. It explores movement in a state of passivity as well as casual situations as a repetitive pattern.

the shortest way
 steel plate, 70 x 80 x 0,5 cm / coal, paper, different sizes of frottage, 2013

The shortest way is the principle according to which matter breaks. Each occurring force tries to take the fastest way to the center of the earth. The state of the broken-ness here is not considered as a state of degradation, but as a motivation for further shifts in meaning. The fracture pattern of glass is transferred to a steel plate (part I), while rubbings of splin- tered glass of a car turn into landscapes.

solid light
 mirrors, servo motors, sensors, sun light, a lamp, 2011

Sunlight has been frozen by a kinetic mirror, which follows the sun (heliostat), while the light from a lamp has been moved by a second heliostat simulating the current sun position. The time-controlled transformation of light is the focus of the project.