After studying art history at the Paul Valéry University in Montpellier, Yann Dumoget was first a musician in a rock orchestra which crisscrossed Europe.

In 1999, he began to paint frantically by making a canvas a day for a year, or 366 canvases for the year 2000.

His attention to the social sphere led him to develop a participative process consisting in asking the public to add the final touch to his productions by writing and drawing on them with indelible markers.

At the crossroads between Street Art and relational aesthetics, this reversal of the practice of tag seeks to make his “shared paintings” the center of connecting mechanisms allowing him to approach in a singular way the concepts of territory, property, of identity and integrity. In a globalized and computerized world where flows circulate at high speed, he focuses in particular on networking, “sharing the common”, the horizontality of non-market exchanges. He is interested in how the antagonistic notions of insemination and sterility, hospitality and hostility, individual and society can be rethought.

In 2000, he moved to Berlin. With the informal group "Kunst der Nähe", he leads a series of micro-actions, always of social inspiration, which he continues to articulate around the "graffiti" of his paintings. Taking place in public space, in private homes, very often outside the "white cube", these rarely exceed the perimeter of its neighborhood (Prenzlauerberg) and assume a modesty of ambition as much as of means. This “proximity art” is posed in reverse double of the exhibitions-events and of the international market animated by the big collectors.

In 2002, taking up with humor the guerrilla spirit often present in urban art, he underlines this marginality by inviting in an untimely way to Documenta 11 of Cassel with Doklomenta.

In addition to photography, which he already uses to document his actions, he then enlarges his field of expression by indulging in the wild dissemination of stickers with which he floods the city walls. They are hijacking the color codes of the event in a potache way by associating them with provocative slogans. He also hacked its official website to give a fun and participatory version where the visitor could, thanks to innovative software for the time, have fun "graffiti" online virtual paintings including original copies are arranged - as an offbeat tribute to Duchamp - in the toilets of the real exhibition spaces.

At the end of 2003, after writing a long farewell letter to the German capital in the form of the novel Rêve Berlinois (published in auto edition), he returned to the south of France.

From 2004 to 2007, eager to continue exploring the way in which the artistic, economic and civic concerns that animate him are articulated, he gave his works various forms, the anchor of which is still painting. These range from sales meetings with individuals on the Tupperware model to team bulding performances in the entrepreneurial world, from humanitarian action carried out with college students to the taking of hostages for ransom by a DRAC manager. , from pictorial board games to collective creation on the Internet. The establishment of a singular distribution circuit being considered as an integral part of each new work.

In 2008, he initiated Le chant des pistes, a wandering that continues until 2010. The pretext is the routing, from one end of the planet to the other, on the principle of concatenation, of written messages and drawn by third parties on pieces of newsprint (and no longer on his paintings). He plays on the ambiguity of the term "factor". Because, in fact, in contrast to his series of 366 canvases for the year 2000, for which he produced "on the line", he then becomes an artist who does not "manufacture" anything. Except, as if by mirror effect, the intense epistolary production intended for personalities from the world of art to which he engaged.

In 2011, one of his correspondents, Paul Ardenne, gave him the opportunity to present a report in the form of an installation retracing his journey in 29 countries. Insisting on doubts, frustrations experienced during his journey, he chooses to extend the line and expose a zero level of relational experience materialized only by traces of financial transactions.

Through his travels, nourished by meetings and questioning, his practice becomes a poetic way of negotiating with the realities of a world in crisis.

Since 2010, he has been traveling to many countries: Iceland, Greece, Portugal, Spain, Germany, Italy…



Recent Achievements:




- Pachydermic Phynance, Miniature Icons.


_ Aboule le Fric! Anonymous letters made with banknotes.


- My little calf is called TAFTA, Sculpture.


- Ex-Veauto, series of gouaches on paper.


- Taurochtonic altar, installation, Saint-Remy, France.




- The birth of the monsters, Series of photographic prints on salted paper.


- More is not enough, Installation bling bling modest, ZAN gallery, France.


- The Children, Video produced in connection with the La Drift of Seeds project.




- The drift of seeds, Action of drifting seeds in walnut shells on a body of water in the city center, Montpellier, France.


- Blinding void, Evolutionary Slideshow broadcast daily in an art center from Greece, Athens, Greece / Montpellier, France.


- Civilization for sale, Installation offering a civilization for sale, Montpellier, France.


- End of broadcast in 15 min, 15 min video interview of Eve Tsirigotaki about the end of the Greek TV ERT. Montpellier, France.




- The black work, Series of painted photographs symbolically repainting the city of Grândola, Portugal.


- VITRIOL, Action of giving small amulets in salt dough to a goat. Drawings, video, photographs and amulets that come from it. Le Cailar, France.


- International monetary landscapes, Series of monetary landscapes made from collages of real banknotes.


- Pictovirus, Action to inoculate a pictorial virus on the works of local artists. Montpellier, France.




- The men of straw, Action to repopulate a deserted city of men of straw, El Quiñon, Spain. The resulting series of photographs.


- Surprise-Party (e), Action to transform trash containers into surprise pockets for precarious and famine, Marseille, France.




- Le silence de la rue, Series of photographs offering non-images of the economic crisis made during a one-month residency. Athens, Greece.


- Superfouilles, Series of photographs offering an archaeological approach to industrial food culture. Athens, Greece.


- Paintings sold by weight, Series of paintings / collages for profit presented as so many decorative elements sold by weight. Montpellier, France.




- Superadditum, Incentive to individual monetary creation and exchange operations. Associated photographs. Reykjavik, Iceland.


- La ligne du jour, Board game inspired by Storytelling methods from pictorial elements leading to the creation of textual, pictorial, sound, photographic and video works. Various locations, France.


- The night of August 4, Unethical video testifying to local poverty. Rue Rambaud, Montpellier, France. Action to offer this video to the acquisition by the FRAC before which it was shot equivalent for the artist to sell his soul for a Euro.


- Status What? Series of paintings / collages / weavings whose textual elements come from statutes noted on the social network Facebook. Montpellier, France and the Internet.


- Account, The song of the tracks, Installation reducing human relationships to a market exchange. Paris, France.


- I buy your friendship, Purchase of friends using fake bank notes made by the artist. Various places. Europe.


- Price on the spot, Series of photomontages. Travel souvenirs that come at a price. Various places. World. *


2008 - 2010


- The song of the tracks, Two years relational wandering around the world on the principle of concatenation. The pretext being the delivery to unknown people of messages written on pieces of newsprint. In parallel, an epistolary chronicle of this journey for personalities from the world of art. Various places, World. (Twenty-nine countries. Africa, Australia, Asia, South America, Europe). Associated textual, photographic and pictorial elements.