Yann Leto (Burdeos, 1979) collects, he compulsively hunts, images. He obsessively stores and creates a world of cuttings, paying great attention to developments over time in its fragmentary nature. He is a sniper in the battle of images; he understands the dialectic of his painting as a transposition of the idea of the infinite war that comprises the West, a war that others must pay. To debate on colonialism in this context is fascinating when, against all odds, the metropolises have taken on an old role with respect to their former colonies.
Dances, battles, simulacra, colony. When all is said and done, the story of contemporaneity is expressed in struggles. Painting, fiction by definition, will not be devoured by the simulacrum. Or at least Leto’s won’t be. (Text by Nacho Ruiz)