Exhibitions2022-10-14T11:24:13+02:00

Current exhibitions

  • Fredrick_Vaerslev

Le Renne

Fredrik Værslev
14.10.2022 - 15.01.2023
Frac Bretagne, Rennes

 

With the support of :

Logo de l'Ambassade de Norvège à Paris

 

Logo OCA Norway

Le renne

One of the most original and recognised voices in contemporary painting, Norwegian artist.
Fredrik Værslev navigates between different pictorial traditions. In his practice, he focuses on the process of painting, demonstrating the possibilities and relevance of the medium today.
His works are born out of the encounter between architecture and painting and take the form of painted renderings of motifs from the artist’s daily life.
He treats his paintings as objects, often created by more or less laborious, serial or deterministic processes, in which time itself, as well as various external factors, become active co-creators of the work.
In several series, he has left his paintings outside for long periods, allowing time and external wear and tear to complete them. Other works use seemingly clichéd techniques, motifs or quotations from art history (for example, dripping and splashing). Fredrik Værslev also challenges the painting process by freely collaborating with other artists or by using non-traditional painting tools, such as spray cans or equipment used to paint roads and stadiums. His paintings often oscillate between abstraction and representation, as evidenced by his groundbreaking Terrazzo series, which mimics the materiality of Italian stone floors while appealing to the expressiveness and spontaneity of abstract expressionism. The Canopy series is reminiscent of modernism and its striped paintings, but has its origins in the awnings of the artist’s childhood home.
His forthcoming exhibition in October 2022 in Rennes, the fruit of a discussion begun in 2015 with Etienne Bernard, director of the Frac Bretagne and curator of the exhibition, is intended to be an important step in his career.
It will constitute a form of retrospective of his entire production over the past 15 years.
The artist will present a new series that will serve as a “re-reading rail” for his older series. Thus, the exhibition presented on more than 500 square meters of the Grande Galerie Sud of the Frac Bretagne will bring together about thirty masterpieces.
The exhibition will be accompanied by a catalogue published in French and English by Dilecta, Paris.

THE ARTIST

Fredrik Værslev was born in Moss, Norway in 1979 and lives and works mainly in Oslo.
He started his career as an artist by making graffiti for 10 years, and it was only afterwards that he received an education in contemporary art. Following his studies at the Malmö Art Academy and the Staatliche Hochschule für Bildende Künste in Frankfurt, he began a series of paintings entitled Terrazzo paintings.
For some, Fredrik Værslev’s work is placed in an undefined space and he himself speaks of “appositions of signs of the world”. He is considered one of the most original artists in contemporary art.


Visuel : © Fredrik Værslev

By |17 September 2022|Categories: Current Exhibitions, Exhibitions|Tags: , , |0 Comments
  • Les finalistes du Prix du Frac Bretagne - Art Norac 2022

Les lézards

Group show
14.10.2022 - 15.01.2023
Frac Bretagne, Rennes
With the support of :

 In partnership with :

Les lézards Lizards

Frac Bretagne-Art Norac Award 2022 : The Nominees

 

Without following a specific theme, the exhibition bringing together the four artists nominated for the Frac Bretagne-Art Norac Award is an attempt to highlight positions, temperaments and perspectives on the world that engage peculiar patterns of attention.

Like the lizards which suddenly appear and immediately disappear, the artists gathered here are interested in transitory states, in moments of shifting from one angle to another, in the body’s impermanence and fragility. Some of the artworks have an ephemeral life, as they develop in response to the exhibition space, and then vanish or persist in another form in another place.

We owe to lizards the origin of the French expressions “lézarder”[1] and “faire le lézard”[2] which evoke states of stasis and lack of movement, often negatively perceived as unproductive moments.

But the lizard’s stillness can never be reduced to immobility or simple rest because motionless under the sun, the lizard is always on the lookout.

For philosopher Jérôme Lèbre, author of « L’Éloge de l’immobilité », immobility corresponds to the decision of occupying a place and holding a stance.

In this age of acceleration, of the need for mobility and flexibility, being an artist means, first of all, making the choice to stop. To stand in a place, not in order to withdraw from the world but on the contrary, to open up the space of possibilities.

Through the lens of very different visual and conceptual approaches, Reda Boussella, Clémence Estève, Fanny Gicquel and Valérian Goalec call upon inaction, slowness, dreams, horizontality as well as fall and failure, because of their potential to resist the thirst for verticality, success and achievement that prevails our present time.

In Valérian Goalec’s installation, this can for instance take the form of a poetic diversion from the standardised architecture of prize-giving venues, subtly questioning the relevance of the notion of competitiveness in the artistic field.

In Reda Boussella’s sculptures, combat sports training equipment can transform into burlesque components, and a scary Malinois Sheperd’s bite into a tender waltz.

Clémence Estève distorts history of art’s great sculptures’ silouhettes, scoliosis being for her a way to question social injonctions on the straightening up of the body, as well as a way to move away while staying set, to grasp a motion where the body seems still.

Trough slowness and slowdown, Fanny Gicquel’s performances are an invitation to contemplation to the point of creating images close from a living painting, which interrogates our current methods in relationships and communication.

The artists suggest that the vulnerability of our environment and bodies gives access to the ability to grow new forms of sharing, of presence and care.

But also to invent new interaction strategies and fresh looks regarding our bodies and their transformations on a physical, intimate and social level.

[1] Lizarding.

[2] Acting like a lizard.

THE ARTISTS

Reda Boussella
Clémence Estève
Fanny Gicquel
Valérian Goalec

 

Elena Cardin is an independent curator and art writer, currently working as Director of Campoli Presti in Paris since 2021. She graduated in Philosophy at the University of Padua (Italy) and she pursued curatorial training at Sorbonne-Paris 4. She works as guest curator for the educational project Orange Rouge which aims to generate the encounter between teenagers with disabilities and contemporary artists through the creation of a collective work. She regularly writes for art magazines such as 02, artpress and Aware magazine. 

Between 2018 and 2019 she was in charge of the off-site curatorial program at Parc Saint Léger – Contemporary Art Center (Bourgogne, France) and she contributed to the development of its public program. In 2017, she was involved in the organization of the 57th Venice Biennale Viva Arte Viva as assistant to the artistic director. 

She is laureate of the Visual Arts Commissions of the Cité Internationale des Arts (2020-2021) as well as of the Lorenzo Bonaldi curatorial award (GAMeC, Bergame). 

Her recent curatorial projects include: Comfort Dreams, Campoli Presti, Paris (2022), The Year of Magical Thinking, Campoli Presti, Paris (2021), Lauren Coullard, Palomar projects Paris (2020), Mona Varichon and Nicolas Faubert, Palomar projects Paris (2021), Laura Gozlan. Vitalium, Parc Saint Léger (2018), Espace Liquides, Parc Saint Léger (2018), Nos ombres devant nous, Fondation Pernod Ricard (2017), Deus sive Natura, GAMeC Bergame (2015), Rob Pruitt Flea Market, Venice (2015). 

Elena Cardin is an independent curator and art writer, currently working as Director of Campoli Presti in Paris since 2021. She graduated in Philosophy at the University of Padua (Italy) and she pursued curatorial training at Sorbonne-Paris 4. She works as guest curator for the educational project Orange Rouge which aims to generate the encounter between teenagers with disabilities and contemporary artists through the creation of a collective work. She regularly writes for art magazines such as 02, artpress and Aware magazine. 

Between 2018 and 2019 she was in charge of the off-site curatorial program at Parc Saint Léger – Contemporary Art Center (Bourgogne, France) and she contributed to the development of its public program. In 2017, she was involved in the organization of the 57th Venice Biennale Viva Arte Viva as assistant to the artistic director. 

She is laureate of the Visual Arts Commissions of the Cité Internationale des Arts (2020-2021) as well as of the Lorenzo Bonaldi curatorial award (GAMeC, Bergame). 

Her recent curatorial projects include: Comfort Dreams, Campoli Presti, Paris (2022), The Year of Magical Thinking, Campoli Presti, Paris (2021), Lauren Coullard, Palomar projects Paris (2020), Mona Varichon and Nicolas Faubert, Palomar projects Paris (2021), Laura Gozlan. Vitalium, Parc Saint Léger (2018), Espace Liquides, Parc Saint Léger (2018), Nos ombres devant nous, Fondation Pernod Ricard (2017), Deus sive Natura, GAMeC Bergame (2015), Rob Pruitt Flea Market, Venice (2015). 

 

the Frac Bretagne–Art Norac Award

Launched in 2020, the Frac Bretagne–Art Norac Award aims to support the professional development of Brittany-based artists at the international level. The award is a Frac Bretagne initiative supported by Art Norac, the sponsorship association of the Norac group. The goal of the award is to help bring artists active in the region to the international scene, in order to promote the professionalisation of their journey beyond the borders of France.

Les lézards is the exhibition bringing together the 4 finalist artists. During the opening, the winner will be announced. His/Her work will be the subject of a solo exhibition at the Temple Bar Gallery + Studios, Dublin, Ireland in 2023.

More about the Award

 


Top images : Clémence Estève – Photo credit: Denis Estève / Fanny Gicquel – Photo credit: Malo Legrand / © Valérian Goalec / Reda Boussella – Photo credit: All rights reserved.

  • Isabelle cornaro, Eyesore, 2019 (capture – détail), collection Frac Bretagne © Isabelle Cornaro / ADAGP, Paris 2022

Eyesore

Isabelle Cornaro
14.10.2022 - 15.01.2023
Frac Bretagne, Rennes

 

Eyesore

Isabelle Cornaro (1974, France) uses a range of media including drawing, photography, video and installation. Her works often reference animated films, iconic landscape design and exhibition views, sourced from historical and cultural archives. Her practice counter-intuitively employs a conceptual approach to investigate the ways in which objects and artworks are propped up, animated and fetishized. She works with familiar objects specifically selected for their sentimental or symbolic value, as a means of triggering a semiotic reading of these objects as opposed to an affected sense of recognition.

In the animated film Eyesore (2019) which entered the Frac Bretagne collection in 2022, her work on the plasticity of forms focuses on typical social places, whether urban, intimate or private, crossed by violent, enigmatic phenomena. Short sequences, like so many snippets of unresolved plots, depict abrupt state changes from animate to inanimate – including characters metamorphosing into objects. Some scenes evoke current events, others the twilight atmospheres of a science-fiction story, between synesthesia and melancholy. In this film, Isabelle Cornaro develops metaphors for unbridled consumption that are as humorous as they are horrific, showing human bodies evolving into useless commodities and meaningless monuments, ultimately ending in a ruined world.

Digital film
Duration: 2’30 ”
Animation and drawing : Victorin Ripert
Purchased from the Balice Hertling Gallery in 2022
Produced with the support of the Fondation des artistes


Visuel : Isabelle cornaro, Eyesore, 2019 (capture – detail), Frac Bretagne collection © Isabelle Cornaro / ADAGP, Paris 2022

By |17 September 2022|Categories: Current Exhibitions, Exhibitions|Tags: , , |0 Comments

In situ Works

  • Peter Friedl Untitled (Corrupting the Absolute), 2000 FNAC 02-773 Centre national des arts plastiques © Peter Friedl – Crédit photo : Galerie Erna Hécey (Luxembourg)

Untitled (Corrupting the absolute)

Peter Friedl
Frac Bretagne, Rennes

Untitled
(Corrupting the Absolute)

Deposit of the Centre national des arts plastiques

Born in 1960, Berlin-based Austrian artist Peter Friedl is a major presence on the international art scene. He started out as a theatre critic in the early 1980s, before devoting himself to the visual arts, and he retains a strong connection to the theatre. This is reflected in his exhibitions, which are made like actual sets, with and without set changes, according to the complexity of the project.
In a quest for new narrative forms, his projects explore, in specifically organized contexts, the construction of history and concepts, always informed by revisiting major themes, including childhood, history, sociology and the animal world. With wit and irony, the artist points out the dead ends of modernity, between the utopias of yesterday and today’s compromises.
The many references in his works, and the various methods he uses to express them (drawing, video, photography, installation, etc.) constitute a dense corpus, blending the suggestion of personal history with that of the collective. Friedl’s work is difficult to grasp in an instant; rather, it demands to be considered dynamically. The artist explains that he is looking for ambiguity and confusion, never the precision of an immediate reading. In 1998 he claimed “that misunderstanding is part of understanding”.

Untitled (Corrupting the Absolute) is composed of handwritten letters in red neon.
It transcribes a reference, jotted down in one of the many notebooks that the artist – an attentive observer – carries with him during the course of his daily life, borrowed from the American essayist and rock critic Greil Marcus*.
An underground cult figure, Marcus likes to underscore the oppositions and contrary forces that construct an artist’s genius, just as Peter Friedl emphasizes the analogies as much as the ruptures and gaps that provoke vertigo.
“Corrupting the Absolute” asserts itself as an abstract injunction to remind us that art, if it exists, does not deliver answers, that it first and foremost pushes us to question ourselves. Installed in the lobby, this piece can be seen as an introduction to the philosophy of the Frac Bretagne.

*Corrupting the Absolute is the title of a chapter of the untranslated book: In the Fascist Bathroom: Punk in Pop Music, 1977-1992, published by Greil Marcus in 1993.


Image : Peter Friedl Untitled (Corrupting the Absolute), 2000 FNAC 02-773 Centre national des arts plastiques © Peter Friedl – Photo credit : Galerie Erna Hécey (Luxembourg)

  • En coulisses, crédit photo : Aurélien Mole

En coulisses

Storage on show
Frac Bretagne, Rennes

En coulisses

Yes ! There are backstage at the Frac. The display is full of surprises, don’t you think? These heights, the visual echoes between paintings and photographs are indeed astonishing. Maybe you already know it : this collection is yours. It is a common good that a team of professionals is taking care of so that in decades, we can still understand and appreciate it.
The Frac Bretagne collection brings together works of artists from different generations and art scenes whether local, regional and international. Abstraction is one of the historical bases of the collection which also unfolds around thematic axes: works in relation to nature, that question the status of the contemporary image, the artist as a witness to his/her time, as well as as large monographic bodies.
The works go in and out from this storage for exhibitions and participatory projects. The FRACs are indeed the most widely distributed public collections in France. This principle of mobility defines these institutions as essential players in regional policies aiming to reduce geographical and social disparities in access to culture. Thus, FRACs are facilitating the discovery of contemporary art by the most diverse types of publics.
For you, the Frac has recorded voices to listen to. You’ll her an improbable flight attendant, fine connoisseur of conservation issues, witnesses recounting their memories of the works that you can see, technicians who know the collection better than anyone, works that speak to each other… and also the public with whom the Frac sets up numerous projects throughout the region and who has bring art pieces into their venues.


Image : Storage on show, 2021, Frac Bretagne, Rennes. Photo credit : Aurélien Mole

  • Richard Long, Un cercle en Bretagne (A Circle in Brittany), 1986. Parc du domaine de Kerguéhennec, Bignan © ADAGP, Paris. Crédit photo : Florian Kleinefenn.

The sculpture park of Kerguéhennec

Domaine de Kerguéhennec, Bignan

The sculptures of the Domaine de Kerguéhennec

The history of the Frac Bretagne is closely linked to that of the sculpture park of the Domaine de Kerguéhennec in Morbihan, which in the 1980s was a magnificent playground for artists as prestigious as Richard Long, Giuseppe Penone and Jean Pierre Raynaud.
Their experiments in this Morbihan park helped build the identity of the Frac and its collection, which is particularly oriented towards landscape issues.

WORKS FROM THE FRAC BRETAGNE COLLECTION

Free admission
The park is open every day (except in case of weather alert)

+ Prepare your visit


Image : Richard Long, Un cercle en Bretagne (A Circle in Brittany), 1986. Parc du domaine de Kerguéhennec, Bignan © ADAGP, Paris. Photo credit: Florian Kleinefenn.

  • Robert Milin, Chan’nic, Saint-Carré, 1991 © Robert Milin – Crédit photo : Frac Bretagne

Saint-Carré

Robert Milin
Saint-Carré, Lanvellec

Saint-Carré, 1991

In 1991, Robert Milin was invited to participate in Escales, an event curated by Jérôme Sans, which proposed to invest various places in the Côtes-d’Armor in a close relationship with the landscape. The artist then became interested in a small rural commune, Saint-Carré, and its inhabitants, with whom he made friends. Sharing with them the local life, at the crossroads of ancestral activities – work of the fields and care of the animals – and of the modern life, he has soon access to the personal photographs of several families.
In these boxes lie as many silent witnesses of the collective religious or secular events that have marked the village, as intimate moments that take on importance only in the history of each. He chose to bring 13 of these photos to light by enlarging them, transferring them either to enamel plates or to porcelain, and placing them, with the active complicity of the inhabitants, in different parts of Saint-Carré: the playground, the gable of a barn, the henhouse, etc. In doing so, he created a work of public art that overturned the usual canons, notably in the relationship between the private and the public: the private became public and the entire village an open-air exhibition space.
In 1994, the Frac Bretagne acquired Saint-Carré, a work that particularly resonates with one of its essential missions, to bring the citizen closer to the challenges of today’s art. Like any work in the public space, Saint-Carré has suffered the assaults of time and the vagaries of weather. Carried by the common will of the inhabitants, the Frac Bretagne and the artist, a restoration was undertaken at the good care of the latter in 2018. In addition to the renovation of certain pieces, this process led to the reorganization of the hanging, to take into account the changes in ownership, the evolution of the building and the roadway.

WORK FROM THE FRAC BRETAGNE COLLECTION


Image : Robert Milin, Chan’nicSaint-Carré, 1991 © Robert Milin – Photo credit: Frac Bretagne

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