Frac Bretagne – Regional collections of contemporary art website2022-09-29T17:59:24+02:00
 
  • Bassim Magdy, FEARDEATHLOVEDEATH, 2022 (détail) Super 16 film transferred to Full HD, 17 min 15 sec. Commissioned by Röda Sten Konsthall, Gothenburg. Photo : Courtesy de l'artiste

Basim Magdy

Solo show
03.02-14.05.2023
Frac Bretagne, Rennes

 

 

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Basim Magdy

THE YEAR SPRING ARRIVED IN SEPTEMBER

Basim Magdy’s solo exhibition at the Frac Bretagne is a dive into the work of this fascinating artist of Egyptian origin. In his work, the image is considered in an expanded field that unfolds to observe what surrounds him and create parallel realities somewhere between embodied study and critical sublimation. In his paintings, photographs and films, the artist composes from samples of the world. As he wanders, he extracts images, gleans fragments, shapes them, twists them. Like a scientist, he tries experiments with reality to generate secondary realities. Throughout his work, he exposes very complex and convoluted constellations of contemporary social and political power structures, and the ways in which they might bring an end to the world. The dramatic tension of Basim Magdy’s critical fictions is thus based on existing realities and rests on counter-narrative plots, written by the artist and played out against the background of the absurdity of life and the banality of existence.

For his solo exhibition at the Frac Bretagne, the artist has chosen to present a large corpus of recent and older works that he puts in perspective in a floating display. Indeed, everything here is suspended, nothing on the wall or very little. The images, whether painted, photographic or filmic, cohabit in the volume of the space. The narratives they carry intermingle, clash, reinforce each other, and sometimes contradict each other. The artist is testing our ability to be caught up in the universes he offers us to see. The exhibition is an invitation to an introspective journey, an opportunity to embark on a trip, a wandering that is productive of meaning, if we are willing to embark on it.

The artist

Basim Magdy (1977, Egypt) lives and works in Basel

Basim Magdy’s work uses fictional pasts and dystopian futures to offer a critical commentary on the present. His work has been shown in solo and group exhibitions at major institutions around the globe, including MoMA in New York, Centre Pompidou in Paris, MAAT in Lisbon, MCA in Chicago, Castello di Rivoli in Turin, Jeu de Paume in Paris, and recently Röda Sten Konsthall in Gothenburg, Sweden, and the Antoni-Tàpies Foundation in Barcelona. He has also been invited to the Athens, Montreal, Istanbul and Rennes Biennials. He was a finalist for the Future Generation Art Prize of the Pinchuk Foundation in Kiev, Deutsche Bank’s Artist of the Year 2016 and has won several awards including Abraaj, Dubai and The New: Vision, CPH:DOX Film Festival, Copenhagen. His films have been screened in dedicated programming such as at the Tate Modern in London and the International Film Festival in Rotterdam. 

https://www.basimmagdy.com/


Image : Bassim Magdy, FEARDEATHLOVEDEATH, 2022 (detail) Super 16 film transferred to Full HD, 17 min 15 sec. Ordering by Röda Sten Konsthall, Gothenburg. Photo : Courtesy de l’artiste

  • Liv Schulman, Brown, Yellow, White and Dead Dead, Épisode 1. Capture vidéo © ADAGP, Paris 2023 – Courtesy de l’artiste, galerie anne barrault et Piedras galeria

Liv Schulman

Solo show
03.02-14.05.2023
Frac Bretagne, Rennes

 

Liv Schulman

ADIDAS, JENNIFER, ARIEL, WOOLITE, LE CHAT, LA CROIX, LE TEMPS, LA SANGSUE, LES PROBLÈMES, LA TRANSFORMATION, L’ENNUI.

Liv Schulman’s films hijack television codes to engage in a biting analysis of traditional representations of gender and identity. Far from locking herself into scholarly postures, the artist prefers to play with irony and the absurd in order to better undermine all the clichés.

For her solo exhibition at Frac Bretagne, Liv Schulman has chosen to present the two seasons of her television series Brown, Yellow, White and Dead, 2020 and Brown, Yellow, White and Dead Dead, 2022. The public is invited to sit in a sculptural environment to watch the episodes broadcast alternately on either side of the space.

The first season Brown, Yellow, White and Dead, 2020 is a four-episode huis-clos in which Liv Schulman returns to the themes that are dear to her: sexuality, minority rights, but also the creative process. The artist adopts the codes of TV series and reality TV and tackles a cinematographic cliché, that of the film being made. In a makeshift living room, barricaded with large brown cardboard boxes taped shut to isolate the action from the outside world, producers, a director and actors discuss a horror film project which, in the process, is being made before our eyes. The script is read as attempts to direct the film, analyses, criticisms and arguments are made, with the protagonists either biting their toes or rolling on the floor. As is so often the case with Liv Schulman, in this case in piles of slimy, dodgy material, the references place the series in the tradition of films such as François Truffaut’s Day for Night or Jean-Luc Godard’s Keep Your Right Up, in an atmosphere that borrows from gore, Bis cinema or popular horror series. One of the great moments of Brown, Yellow, White and Dead is a lively discussion about the meaning of the insult “faggot”, where the protagonists rub themselves against the walls in a joyful dance that gets out of hand: this is how the film’s LGBTQIA+ commitment manifests itself, unambiguously, but in the liberating mode of a “state of anarchic trance”, making a mockery of those who give lessons.

In the second season Brown, Yellow, White and Dead Dead, 2022, the artist sets the scene in an underground car park. The protagonists of the first season are back, discussing and acting out possible scenarios for a horror film. From the very first episode, the viewer is caught up in the hypnotic spiral of speeches. Disembodied speeches, with no head or tail, spouted by prosumers [1] in perpetual retraining. Here, we know how to make kombucha and kefir, we think we are a shaman, a dietician and a sophrologist. Here, everything is possible, everything is interchangeable. The speeches of the car park present a new masculinity engaged in craft activities or those traditionally associated with women. The time is no longer vertical, as they say. People are setting up their own business while ensuring a less hierarchical organisation of work and production.

Based on Liv Schulman and creative chaos by Vanessa Morisset for Switch on paper, 2021 and Brown, Yellow, White and Dead Dead by Fatma Cheffi, 2022, public document published by the galerie anne barrault for the exhibition The New Inflation, April 9 – May 22, 2022.

[1] This term seeks to describe the tendencies of consumers to become more professional and closer to the figure of the producer (Wikipedia)

THE ARTIST

Liv Schulman (1985, Argentina) lives and works in Paris 

Liv Schulman studied at the Ecole Nationale Supérieure d’Arts de Paris-Cergy, Goldsmiths University in London, UTDT in Buenos Aires and the Ecole Nationale Supérieure des Beaux-arts, Lyon. Her work has been shown in numerous solo and group exhibitions, notably at the Bemis Center for contemporary arts in Omaha, USA, the CRAC Alsace in Altkirch, the Centre Pompidou in Paris, the Ricard Foundation in Paris, the Reina Sofia Museum in Madrid, the MABA in Nogent-sur-Marne, Triangle France in Marseille and the Galerie Centre d’art contemporain in Noisy-le-Sec. She also participated in the Ateliers de Rennes-Biennale d’art contemporain in 2016.


Image : Liv Schulman, Brown, Yellow, White and Dead Dead, Episode 1. Detail capture © ADAGP, Paris 2023 – Courtesy of the artist, galerie anne barrault and Piedras galeria

  • Une nouvelle aube de Jeremy Deller

JEREMY DELLER

Retrospective exhibition
10.06-17.09.2023
Frac Bretagne, La Criée centre d'art contemporain, Musée des beaux-arts, Rennes

In the context of

 

With the support of

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Jeremy Deller

Art is Magic

Art is Magic is the first French retrospective of the celebrated English artist Jeremy Deller (1966, London), winner of the prestigious 2004 Turner Prize and Britain’s representative at the Venice Biennale in 2013.
Deller is interested in popular culture and counter-cultures. His artistic inquiries focus not just on social issues and history but also on music. Deller’s oeuvre is tinged with acerbic humour and conscious socio-political discourse, making a connection between vernacular or mass culture and the world of work. The artist’s quest has led him to explore the social history of his country and further afield via the social conflict of the Thatcher era, the pop group Depeche Mode, the world of wrestling, the spawning ground of Brexit… and even acid house and the rave movement. In each case, Deller has constantly strived to involve other people in the creative process.
The Art is Magic exhibition provides a broad overview of Deller’s work from the 1990s to the present day, focusing on 15 major projects and key works that have marked his career. In addition, the event will be an opportunity to publish the first retrospective of the artist’s work in French.

Art is Magic exhibition is a city-wide co-production that takes place in the spaces of Frac Bretagne, La Criée Centre d’art contemporain and the Musée des beaux-arts de Rennes.

It is part of the Exporama summer season organised by the City of Rennes and Rennes Métropole. It resonates with the exhibition Forever Sixties of the Pinault Collection, at the Couvent des Jacobins in Rennes, which explores the spirit of the 1960s between liberation and repression.

 

Top image : Jeremy Deller, Une Nouvelle Aube, 2021, from the series Warning Graphic Content, 1993-2021 © Jeremy Deller. Photo : Courtesy of the artist

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