Exhibitions2024-06-15T10:53:45+02:00

Current exhibitions

  • MEXICO. Mexico City. Olympic games. American athletes demonstrating against US race discrimination by clutching their fist. The american athlete Lee EVANS, winner of the 400 m in 43,86 sec. 1968.

Les Jeux Olympiques 1964-1980

Raymond Depardon
14.06.2024-05.01.2025
Frac Bretagne, Rennes

 

In 165 photographs, renowned French photojournalist Raymond Depardon retraces the 6 Olympics he covered between 1964 and 1980.

 

See also

Son œil dans ma main
Algérie 1961 & 2019

et RURAL

Logo Les Champs libres

 

With the support of

 

 

 

 

Les Jeux Olympiques 1964-1980

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

THE ARTIST

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.

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Visuel bandeau : Raymond Depardon, Un athlète afro-américain lève le poing en symbole de la lutte contre la discrimination raciale aux États-Unis. Mexico, Mexique, 1968 (détail) © Raymond Depardon/Magnum Photos

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  • Visuel : Bruno Peinado, Sans titre, une figure embarquée 2013, collection Frac Bretagne © Adagp, Paris | Crédit photo : Marcel Dinahet

Arpenter le monde

Group Show
22.06 - 22.09.2024
Les Ateliers des Capucins, Brest

 

Arpenter le monde (Exploring the world)

On the occasion of the celebration of its 40th anniversary, Frac Bretagne settles down at the Ateliers des Capucins this summer. Founded in 1981, Frac Bretagne has built a collection of contemporary art recognized nationally and internationally. Often unknown to the general public, it nevertheless gathers more than 5,500 works by more than 1,500 artists of more than 125 nationalities. This collection is a magnificent heritage owned by the Bretons.

The exhibition offered to the Brest public plays with the identity of this emblematic place that are the Ateliers des Capucins, both a historic industrial site of the Cité du Ponant, a cultural space, a playground, a platform for meetings and experiences and balcony overlooking the sea.

Arpenter le monde brings together works by a dozen artists of all origins and generations. Whether drawing, sculpture, film, painting or photography, each of their works evokes in their own way and in very different artistic languages travel, wandering, dreamed horizons. Bigoudènes from historic Brittany, a strange lying tree, a Trojan horse, an unusual trip to the Mediterranean, so many experiences that invite you to a dreamlike journey through this magical place in Brest.

A partnership between Frac Bretagne and Les Ateliers des Capucins, Brest.

Works by Gilles Aillaud, Basma Alsharif, Geneviève Asse, Aurore Bagarry, Jean-Yves Brélivet, Jean Degottex, Anita Gauran, Cinthia Marcelle/Tiago Mata Machado, Bruno Peinado, Seton Smith, Eric Tabuchi/Nelly Monnier, Michel Thersiquel, Vasantha Yogananthan


Image: Bruno Peinado, Sans titre, une figure embarquée, 2013, Frac Bretagne collection © Adagp, Paris | Crédit photo : Marcel Dinahet

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  • Pınar Öğrenci, Aşit (The Avalanche), 2022 (détail/capture), collection Frac Bretagne © Pınar Öğrenci

Aşit (The Avalanche)

Pınar Öğrenci
15.06-29.09.2024
Frac Bretagne, Rennes

 

Pınar Öğrenci

Aşît (The Avalanche)

For her film Aşît (The Avalanche), made for the fifteenth edition of Documenta in Kassel in 2022, the artist returned to her father’s birthplace town, Müküs, an unspoilt spot in a mountainous region south of Van. On the Turkish-Iranian border, this former capital of Urartian civilisation and the Armenian Vaspuragan dynasty is now home to an urban population made up mainly of Kurdish communities.

Meaning avalanche and disaster in Kurdish, the word Aşît refers both to the climatic threat that sometimes disconnects this mountain village from the rest of the world and to ‘Meds Yeghern’ (The Great Disaster), the Armenian genocide of 1915, a tragic event that is still contested by the Turkish state.

Through oral histories, photographic archives and images captured in the region, filmmaker Pinar Öğrenci reveals the traces and traumas left by the Armenian people in the landscape, customs and memories. She recounts the daily survival strategies of the people of Müküs under pressure from the State and religion.

The film was also inspired by Stefan Zweig’s last short story, The Chess Player (1941) – a psychological thriller in which chess plays the role of a survival mechanism in the face of fascism.

Her interest in Müküs, she says, ‘is not only because it’s [her] father’s home town, but also because this village has been blessed by long years of self-imposed isolation; like a river that feeds itself, that remains unpolluted and clear… It’s an environment of non-conflict favoured by its geographical isolation, an oasis where unbridled capitalism and the state apparatus entered too late. In other words: a time machine, protected by the mountains. But this machine can also be seen as a kind of prison, the same one that Stefan Sweig talks about in his story’.

The filmmaker has chosen the songs of Hayrik Muradian, an Armenian musician who had to flee Van in 1918, to sublimate the impressive landscape of tranquillity that protects the village of Müküs.

THE ARTIST

Artist and filmmaker Pınar Öğrenci (1973, Van, Turkey) lives and works in Berlin.

Displacement, migration, survival, and resistance are cornerstones of Pınar Öğrenci’s films and installations. Driving her works are difficult, everyday struggles: the stories she hears, observes, experiences, collects, and documents from different geographies. In earlier works, Öğrenci followed the rarely-spoken stories of migrating communities around the Mediterranean, the Aegean, and in Berlin. Her works are decolonial and feminist readings from the intersections of social, political and anthropological research, everyday practices, and human stories that follow agents of forced migration.


Image : Pınar Öğrenci, Aşit (The Avalanche), 2022 (détail/capture), collection Frac Bretagne
© Pınar Öğrenci – Courtesy of the artist

By |10 December 2023|Categories: Current Exhibitions, Exhibitions|Tags: , , , |0 Comments

In situ Works

Le Pédilove

Anaïs Touchot
Permanent installation
Frac Bretagne, Rennes

Le Pédilove

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 Canyon

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.

Visit Frac Bretagne
  • 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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