Work from the Frac Bretagne collection acquired in 2022
Presented as an interactive listening room, This song is for… vol 1 is a unique collection of six vinyl records, drawn from the artist’s multi-channel video and sound installation, This song is for… (2019). In this more intimate context, the tactile, interactive form of the records engenders a different kind of listening experience, in which rituals of care attend and grant reverence to the sonic experience.
In This song is for… Goliath returns to and re-performs the popular convention of the dedication song, in collaboration with a group of women and gender-queer led musical ensembles. Each of the eleven songs (six of which are included here) were personally chosen by a survivor of rape and subsequently performed as a newly produced cover-version. These are songs of special significance to the survivors, songs that transport them back to a particular time and place, evoking a sensory world of memory and feeling.
A sonic disruption is introduced at a point within each song, recalling the ‘broken record’ effect of a scratched vinyl LP. Presented in this performed musical rupture is an opportunity for listeners to affectively inhabit a contested space of traumatic recall – one in which the de-subjectifying violence of rape and its psychic afterlives become painfully entangled with personal and political claims to life, dignity, hope, faith, even joy.
Born in 1983 in Kimberley (South Africa).
Lives and works in Johannesburg.
Through the ritual, sonic and social encounters of her art practice, Gabrielle Goliath attends (and tends) to histories and present-day conditions of differentially valued life, reaffirming ways in which black, brown, femme and queer practices of possibility perform the world differently. Each of her works convenes a coming-to – a tenuous community – collapsing the presumed remove and privileged subject position of representation (as white, male, heteronormative) and calling for meetings in and across difference, on terms of complicity, relation and love.
Le songe d’une nuit sans rêve (Dreamless Night) is the first solo exhibition by Ali Cherri, a Lebanese artist living in Paris, in an art institution in France.
The exhibition present the new video work The Watchman (2023), as well as a series of original sculptures and drawings, specially produced for the exhibition, which relate to the symbolic elements and characters of the film, as well as to the geographical and cultural landscape of Cyprus.
Shot in Louroujina, a small village in the unrecognized Turkish Republic of Northern Cyprus, the film centers on the figure of a soldier who guards the southern border with the Greek-Cypriot-dominated Republic of Cyprus. During his long and tedious guards, the hills inhabited by the “enemy” become the scene of the soldier’s fantasies and daydreams.
The Watchman continues Ali Cherri’s critical investigation of border politics, geographies of violence, nation-building and the radical potential of the imagination. The artist also evokes the historical links of migration between Cyprus and Lebanon, as well as those between Nicosia, the divided capital of Cyprus, and Beirut, the artist’s hometown, which was also divided during the Lebanese civil war.
Curators: Alessandro Rabottini and Leonardo Bigazzi
The Watchman is commissioned and produced by Fondazione In Between Art Film, and co-produced by The Vega Foundation and KinoElektron. The film received additional support from Galerie Imane Farès, Paris, Robert Matta – Fondation RAM, Arab Fund for Arts and Culture, and Frac Bretagne.
It is accompanied by a monographic catalog published by Lenz Press and produced by Galerie Imane Farès, Paris.
Ali Cherri (1976, Beirut). Lives in Paris (France).
Cherri’s work is inspired by artefacts and the natural world. His sculptures, drawings and installations explore the temporal shifts between ancient worlds and contemporary societies.
Using archaeological artefacts as a starting point, he investigates the boundaries of ideologies that underpin the foundations of nations and the myth of national progression. His work explores the links between archaeology, historical narrative and heritage, considering the processes of excavation and relocation of cultural objects into museums.
Recent solo exhibitions include Envisagement, Giacometti Foundation, Paris (2024), Humble and quiet and soothing as mud (Swiss Institute, 2023), Ceux qui nous regardent (CAC La Traverse, 2023), If you prick us, do we not bleed? (National Gallery, 2022), Return of the Beast (Imane Farès, 2021), Tales from the Riverbed (Clark House, 2018), From Fragment to Whole (Jönköping County Museum, 2018), Programme Satellite 10: Somniculus (CAPC Centre d’art contemporain de Bordeaux and Jeu de Paume, 2017), A Taxonomy of Fallacies: The Life of Dead Objects (Sursock Museum, 2016).
His work has recently been exhibited at the Institut Valencià d’Art Modern (Valencia), Jameel Arts Center (Dubai), Para Site (Hong Kong), MAXXI (Rome), Centre Pompidou (Paris), 5th Kochi Biennale (2023), 15th Sharjah Biennale (2023), 59th Venice Biennale (2022), Manifesta 13 (Marseille, 2020), the 5th Ural Industrial Biennial of Contemporary Art (Ekaterinburg, 2019), the 8th Melle International Biennial of Contemporary Art (2018) and the 13th Sharjah Biennial (2017). Ali Cherri was awarded the Silver Lion for his participation in the international exhibition at the 59th Venice International Biennale of Contemporary Art in 2022.
In the summer of 2024, as part of Rennes’ Exporama contemporary art season and the Paris Olympic Games, the Frac Bretagne is presenting an exclusive exhibition entitled “Les JO de Raymond Depardon“.
In 165 photographs, the famous French photojournalist Raymond Depardon retraces the 6 Olympics he covered between 1964 and 1980.
In 1964, Raymond Depardon had been working as a photojournalist for the Dalmas agency for four years. He was sent to Tokyo to cover the Summer Olympics and thus took his first steps as a sports photographer. It was a winning move, as he ended up working for 6 Olympiads, until the Moscow Games in 1980.
During these events, the famous photographer learnt that, to capture the beauty of the moment, you have to be ahead of it.
This is how he managed to capture the feat, the strength and the extreme emotion: the despair of Michel Jazy after his defeat in the 5,000 m event in Tokyo (1964), the dazzling joy of Colette Besson winning the 400 m in Mexico City (1968), the legendary Olympic hat-trick of Jean-Claude Killy in Grenoble (1968), the grace and perfection of Romanian gymnast Nadia Comaneci in Montreal (1976)… images now engraved in the history of sport.
But Raymond Depardon, driven by his expertise as a journalist, also captured other moments, historic events that went far beyond the field of sport: in 1968, he immortalised the raised fist of African-American athletes in Mexico City, then in 1972, during the Munich Olympic Games, he witnessed the Israeli delegation being taken hostage. Stadium and history, culture and sport.
6 OLYMPICS IN 165 PHOTOGRAPHS
1964 Summer Olympics in Tokyo
20 years after the end of the Second World War and its dramatic aftermath in Hiroshima and Nagasaki, Japan opened up to the world by hosting the Olympic Games.
1968 Grenoble Winter Olympics
The first Winter Olympics organised by France, inaugurated by General de Gaulle and featuring the young skier Jean-Claude Killy.
1968 Summer Olympics in Mexico City
The raised fists of the African-American athletes on the podium will forever remain the image of the fight for civil rights.
1972 Summer Olympics in Munich
These Olympics were sadly marked by the hostage-taking of Israeli delegation by the armed Palestinian revolutionary group Black September.
1976 Summer Olympics in Montreal
The young Romanian gymnast Nadia Comaneci achieved the highest score 7 times.
1980 Summer Olympics in Moscow
The Olympics were boycotted by a number of countries in reaction to the Soviet invasion of Afghanistan
French photographer, film-maker, journalist and screenwriter Raymond Depardon was born on 6 July 1942 in Villefranche-sur-Saône.
He moved to Paris in 1958, then joined the Dalmas agency in 1960 as a journalist. In 1966, he co-founded the Gamma agency.
Alongside his career as a photographer, Raymond Depardon began making documentaries in 1963, notably on politics, with a 1974 documentary on Valéry Giscard d’Estaing’s election campaign, which was banned by the President. Since then, he has made a number of films, taking his humanist approach to places as diverse as Chad, a psychiatric asylum, an emergency room, a courthouse or the farming community.
In 1978, Raymond Depardon joined the Magnum photo agency and continued his reportage work until the publication of Notes in 1979 and Correspondance New yorkaise in 1981. In 1984, he took part in a photographic mission for the DATAR, whose aim was to “represent the French landscape of the 1980s”.
While pursuing his film career, he was awarded the Grand Prix National de la Photographie in 1991.
His films also gained recognition: in 1995, Flagrants Délits, about the French justice system, won the César Prize for best documentary, and in 1998, he began his trilogy Profils paysans, devoted to the French rural world.
One of the characteristic features of his photographic work is his assertion of the photographer’s subjectivity.
« Sport is perhaps the speciality that best teaches us best how to ‘see’ well. A sports photographer is equipped to venture onto any other field. In the Olympic stadiums surroundings, I had the impression of becoming an athlete myself. Before a big race or competition, I stopped eating, drinking and talking. For a champion, it’s a year of preparation for a performance. For me, it was half a day waiting for a photo. » Quote by Raymond Depardon.