Entitled Parrathon, this retrospective of the iconic English photographer’s works traces the artist’s career through fourteen iconic series, dating from the mid-1970’s to the present day.
In total, nearly five hundred images await audiences at the Frac Bretagne and at the Thabor Park in Rennes.
Among the most famous photographers in the world today, whose work presents one of the most mischievous points-of-view in contemporary photography, Martin Parr is, according to Thomas Weski, an international expert on contemporary photography and the artist’s official biographer, the “chronicler of our time”.
His colourful and offbeat images, full of derision and irony, seem, at first glance, exaggerated or even grotesque. The patterns he chooses are strange, the colours garish and the perspectives unusual. Mass tourism, class leisure or everyday objects found around the world, the subjects of his images reveal to us how we live, how we present ourselves to others, and what we value.
Frac Bretagne presents the world premiere of the Parrathon retrospective designed by the artist and produced with Magnum Photos in collaboration with Fovearts. The exhibition brings together his obsessions, his taste for kitsch, his attraction to overabundance, his intuitive and critical view on our society without judgment, all marked by his very English taste for ironic innuendo.
Anthony McCall, leading figure of experimental cinema in the 1970s, is above all known for his solid lights sculpting moving volumes in space and changing with the movements of visitors. Line describing a Cone is the most emblematic work of his research. Oscillating between sculpture, drawing and video, this work offers to the viewer an experience both physical and visual.
In dialogue with this immersive installation are presented two videos from the series D’après Caspar David Friedrich by Sarkis, also approaching the ephemeral moment of creation through an unprecedented practice of watercolor.
Opening on Saturday September 19, 2020 at 6 p.m.
Conference by Etienne Bernard, director of Frac Bretagne, Tuesday September 29, 2020 at 12:15 p.m.
A paper exhibition? An exhibition to be destroyed?
EX.PDF is an exhibition that changes with each presentation, questioning the appearance and disappearance of light artworks, paper documents that envision multiple forms of writing.
Whether picked up by a member of the Frac team or a designated member of the public, each day […], one of the 41 posters on display [will] be shredded and left in piles on the floor.
curated by : cultureclub-studio
« EX.PDF [EX.Portable Document Format] is a editorial and curatorial concept that explores different forms of writing already shown publicly, whether in an urban, editorial or artistic context.
In relation to contemporary practices, EX.PDF offers a set of images gathered in a portfolio published in 15 copies. Intimately linked to the principle of “Do It” the latter is intended to bring together several exhibitions, under the impetus of different curators in different exhibition venues. Exponential, EX.PDF thus brings together proposals which, each in their own way, highlight, in the course of the displays and contexts, the effects of meaning relating to the (re)exhibited writings.
This presentation for the Mur du Fonds is the twelfth occurrence of this project, which moreover follows a precise implementation protocol established by the label hypothèse for the curators in charge. Article 14 thus states that, at the end of the exhibition, the venue must destroy the 41 documents making up EX.PDF, so that the copy of the portfolio cannot be shown again.
cultureclub-studio has chosen to make this process visible by requesting that one of the 41 posters on display be taken down by a member of the Frac team or a designated member of the public, every working day (6 days a week), and then shredded and left in a pile on the floor.
Devoted to the presentation of editorial initiatives, le Mur du Fonds highlights Frac Bretagne’s collection of multiples and artists’ books as well as artists, graphic designers, editors and students who develop an original approach to publishing. Very reactive, its programming is thought out in exchange and with art actuality…
This installation by French Artist Anaïs Touchot (born in 1987 in Dinan), situated in Frac Bretagne’s Canyon, is a space where the public is invited to relax, read, listen, scribble, hide, or chat, surrounded by barricades/palisades and tatami mats. Le Pédilove offers a place for lounging, encouraging bodies to adopt a slightly softer attitude, waiting and lascivious. Words painted on fabrics, table and signs play with expressions lifted from hypnosis, meditation, and coaching tutorials, adding a “fortune cookie” aspect to the artificial environment.
By inventing a space that borrows codes from multiple places, Anaïs Touchot carries on with her work as a “builder” or “demolisher” of shared spaces, affirming her role in the production of forms in which she diverts the weight of materials, removing any aspect of solemnity. A spirit of derision hovers in the titles of her latest works: “I will leave my old skin there”, “Muddy Glory”, “Lost Cat”, “Beauty worker”. These installations use catchphrases and buzzwords as a way of anchoring oneself in a shared banality, one that levels hierarchies, bringing together the art of the beauty salon, the football match, or the cat bar. “Relax, everything will be fine”.
The so-called “skylight” space was transformed in 2019 into a “canyon”, a hybrid space between an artistic experimentation platform and an educational space. It is inhabited by the passable installation “Le Pédilove” by Anaïs Touchot. It is a friendly and flexible place that promotes debate and the collective as well as individual experience – it is equipped with tables, seats, documentary resources, etc.