Yuna Amand has the habit of presenting current physical phenomena, often sources of imaginary emotions and media, but which are not accessible to us on a 1:1 scale, or else pass unnoticed in what they are. What the artist is developing is arrangements of images, volumes and sounds, getting visitors to enter an environment and enabling them to witness these events in another way: the swarms of starlings settling down to sleep, the movement of the canopy of trees, the wave of an earthquake, the wave of a bomb or a ricochet… She puts physical phenomena in an everyday context, and one of artistic display, what is more—by creating the circumstances of a direct experience of a new type, of a true false contact, and […]
Yuna Amand has the habit of presenting current physical phenomena, often sources of imaginary emotions and media, but which are not accessible to us on a 1:1 scale, or else pass unnoticed in what they are. What the artist is developing is arrangements of images, volumes and sounds, getting visitors to enter an environment and enabling them to witness these events in another way: the swarms of starlings settling down to sleep, the movement of the canopy of trees, the wave of an earthquake, the wave of a bomb or a ricochet… She puts physical phenomena in an everyday context, and one of artistic display, what is more—by creating the circumstances of a direct experience of a new type, of a true false contact, and from this produces an augmented reality, increasing the power of our senses. Yuna Amand brings these phenomena down to our scale and makes landscapes of them.
Excerpt from a text by Maud Le Garzic Vieira Contim, 2012.
Master of philosophy and contemporary art representative.