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| Yves Hayat | |
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Born in Egypt. |
| About the Artist | |
« I admit that I’m less interested in recording reality than in manipulating it to create “imaginary” images. I’m a total visual consumer: I film, download, scan, retouch.... directing my own reality. Playing with superpositions, shifts and misappropriations, I confront past and present, beauty and horror, indifference and fanaticism. Questioning the relationships between art / politics / mass media, I try to conceive a critical work in which my attraction for the culture of the media, cinema and advertising shows through. Thanks to modern techniques (Internet, digital processing, printing on plexiglass...), I try to present a report of our time and what our society has generated, transformed and destroyed... I believe that when a work of art is confronting us to our world, it’s purpose is not only to make us question ourselves but also to induce a smile or create unrest... only then does it escape the common place ». Yves Hayat |
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ICONS ARE TIRED
2004 |
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| (...) Enclosed in Plexiglass boxes, the "Icons are tired," are the sleepy faces of celebrities : Dali and Marlene Dietrich, Che Guevara and Marilyn Monroe, Jim Morrison and Mao, Callas and Picasso. Those faces are marked by the deterioration of an old and burnt film. Yves Hayat is real navigator in a virtual time, he doesn’t hesitate to close the eyes of those he represents. This universe of consumed icons, finally shows in a mirror, through the system of advertising and fashion, receiving the reflection of the same seductive look returned to Narcisse by the pond which reflected, sentencing him to solitude, which tends to exclude dialogue with the otherness .(...)
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TERMINUS
2004 |
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| To Hayat, wild grass covering broken tombstones and rusted metal junk seems to have a tender, poetic benevolent pantheism. For the artist, the lapse of memory of men is neither abandonment nor profanation but rather the beginning of a cycle where nature takes over to exalt the divine immanence.
(Helene Jourdan-gassin, journalist - 2005) |
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VENUS/DISATERS
2006 |
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| These phosphorescent women move us not only because they are as perfect as dolls but also because the news let us know about a miracle, that of a few women becoming executives. They are not dolls for they are in the real of their bodies, neither beautiful nor ugly, that is not any more the question as something has become possible; there is a break in fantasy. This series of works by Yves Hayat is timely. Women don’t pose any more for men; they pose as being those who know about how to rule the world. Now vertical, some announce they will bring disaster down (France Delville - 2006) |
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BERMUDA TRIANGLES
2008 |
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| A whole universe of signs inhabits this very intimate and feminine triangle which Hayat names with humour “Bermuda triangle”. This mysterious place where it is said that planes and ships are trapped in a fatal triangulation. With an acute metaphorical sense, Hayat applies it to the sex of the woman, this figure pointing down also symbolizing water. Should one make a parallel between the danger attached to the legend of this geographical space and the one that tradition has for long attributed to the feminine gender? Hayat dissuades us from it. He conceived this work like a stylistic composition, taking this feminine triangle also poetically called Mount of Venus, in a critical stroll in the heart of our society, confronting politics, religion, morals.
The installation is composed of two panels both displaying sixteen small black frames (30x30 cm) each enclosing pubis images interlinked with symbols: the crescent, the American flag, the star of David, tags, ruins, weapons... |
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PARCE QUE NOUS LE VALONS BIEN
2008 |
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| “Because we are worth it”, is a questioning on the aftermath of the media destiny of highly emotional images of the Italian Pietà (Bellini, Carracci, Tiziano...). In 1990, the “Pietà of Kosovo” by Merillon showed a group of tearful women surrounding a deceased during one of the numerous conflicts which slaughtered the ex- Yougoslavia. By its formal resemblance and expressiveness, this image was the modern version of these “Pietà”.
But when death is “posing”, it is easy to skid.
Today, our civilization based on appearances and superficiality is represented by world renowned top models. Claudia, Naomi, Eva, Kate....these smooth and selling images, are everywhere. Taking possession of an ever growing space, they could one day also embody the tragedy of war and misery.
Because they are worth it. |
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QUID NOVI Mr JC ?
2003 |
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| (...) The principle theme of my artwork is the examination of a history of oppression. Christianity has been granted a dominant, non-temporal role, far from the original suffering. The church has been preaching for the last twenty centuries how man should feel ashamed of his body (while never ceasing to show it), thus demonstrating an aversion for anything too human. But Jesus/God is also made of flesh... he felt our torments - desire, abandonment, and solitude.
My images of the present express that part of human suffering without trying to give it a spiritual dimension.
My intention is to take away the sacred aura of the non-temporal (timeless) and universal images of Christ by diluting it to reality and elevating it to a universal level. From the beginning of the 20th century, the religious and symbolic imagery has often been revisited, condemning violence, racism and sexual discrimination. What I’m interested in is the creation of a new language, elaborated by the union of distinct moments and techniques that question reality.
Questioning front and obverse of a medal - sacred/secular, past/present, expression/ repression, affect/intellect - I try to give a new vision about the doubts and fears of our world. Confronted by two obvious facts - nothing will ever stop oppression and nothing is determined by chance - I prefer to ask the most eternal of all questions – What is new? |
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MASKS
2006 |
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| Inspired by the book « Mémoires des enfants cachés 39-45” (Memories of hidden children), a collection of testimonies by Jewish women, staged and interpreted
by Sophie Sergio and Isabelle Bondiau-Moinet, Hayat produced a video where the faces of the two actresses are tattooed with images of violence resulting form the current conflicts around the world. In this video, Hayat chose twenty “face-screens”, eyes shot, tightly framed, identical, interchangeable and linear to say that if life continues, tragedy as well. In the end, it is one single face which shows through, the face of a silent woman confronting her own inner ghosts or perhaps the face of her daughter willing to share and understand. |
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MYTHIFICATION
2008 |
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| I have chosen to photograph a simple naked body, a model in flesh, as large as life and following the great tradition of Painting. These images are in Christ-like positions, etched in our collective memory like the Flagellation, Crucifixion, Deposition, Pieta, Entombment, and Resurrection. Leaving aside this pretentious environment, I tried to recover the essence and the humility of a solitary Christ / Man, who is crushed, lacerated and put to death by our daily worldwide violence.
Facing up to a viewer made apathetic by the ceaseless flow of information and images, my reasoning tries to zoom deep inside the suffering of a man surrounded by his dark universe, where the lighting seems to come from blood and fire, and lights of hope comes from angry graffiti.
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THE (Im)MACULATE CONCEPTION
2009 |
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| Yves Hayat reshapes our old schema, and works out mechanisms that create a definite structure, helping us to re-signify the reality of the sign, investing it of provocation, humor, disenchantment. He forces us to face up to a reality, which becomes more and more telereality, with a democracy about to become a telecracy, as Paul Virilio states it. Yves Hayat seems to wonder, and ask to the “regardeurs” of his works and of his message, if the signs find life in contact with the body (semiology) or if the body is erased in an irreversible way under the signs (semiosis).Yves Hayat does not select only the icons of History who got in the collective memory, but operates on a radical way the mode of appearance of an icon, as if it was a subject extracted from the religious ground and transferred in the everyday life, as a sacred subject transfered into the profane: in this space his artwork should be read. |
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| Education and biography | |
| MONACO - January 2008 - Galerie du Forum (Solo exhibition) FRANCE-Narbonne Chateau de Lastours (june-september 2008) AUSTRIA-Vienna - Tihos Tools Gallery (june-sept 2008) GREECE - Art Kessaris Gallery Mykonos (june-september 2008) FRANCE - Paris/Viry Chatillon (Mai 2008) FRANCE - March 2007 - PARIS City Hall 13th (Solo exhibition FRANCE-Nice : Sainte-Reparate City Gallery (Solo exhibition) FRANCE-Toulouse : Cultural Center (Solo exhibition) FRANCE-Valbonne : Installation in the Abbay (Solo exhibition) FRANCE-Nice : Vision Future Gallery (Solo exhibition) URUGUAY Art center - Alliance francaise de Montevideo (Solo exhibition) BELGIUM-Gent : VanRam Art Gallery (Solo exhibition) FRANCE-Marseilles – Les Docks (Solo exhibition) MONACO – Salon des Arts Plastiques de l’Unesco - 1st Jury price |
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| Future shows | |
| DUSSELDORF (Germany)- Ralph Schriever Gallery VIENNA (Austria) - H17 Gallery ST-REMY-DE-PROVENCE ( France)- Galerie Bernard Mourier KOWEIT CITY - Thenumber4 Gallery |
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| Website: www.hayat-art.com | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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