Coproduction : WIELS Centre d’art contemporain – Bruxelles (BE) , Frac Bretagne – Rennes (FR), Kunstencentrum BUDA – Courtrai (BE), la Communauté flamande de Belgique, Museum Dhondt Dhaenens – Deurle (BE), Netwerk – Aalst (BE), Kunstendecreet (BE), Fondation Serralves – Porto (PT), Théâtre de Poche – Hédé-Bazouges (FR)
Artist Manon de Boer and choreographer Latifa Laâbissi meet in 2015 during a workshop around the influence of Oskar Schlemmer and the fluidity of working across media and different artistic languages. For both, pluridisciplinarity is essential to their work. They decide to deepen their collaboration in a deliberately dilated, stretched temporality, and in diversified work contexts like itinerant conversations, memories of reading and gardening, correspondence and collages.
Their dialogue steps out from result-driven processes, steady rhythms and prefigured calendars. Both de Boer and Laâbissi have consolidated trajectories and working methods and saw in their collaboration an occasion to challenge inertia and function differently. In this way, and over time, they are building a common corpus of images, a mental map that they activate and explore, questioning each other’s discipline and advancing into a priori unknown territory.
The project Qui parle? / Wie spreekt? puts the voice at the fore front. It questions the voice’s timbre, language and accent.
The project has 2 parts: one choreographic Ghost Party(1) and the other video Ghost Party (2).
Manon de Boer (1966, India), lives and works in Brussels.
Manon de Boer completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated.
Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), São Paulo Biennial (2010), Documenta (2012), Taipei Biennial (2016) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), South London Gallery (2010), Contemporary Art Museum of St Louis (2011), Museum of Art Philadelphia (2012), Van Abbe Museum, NL (2013), Secession Vienna (2016) and Groundwork, GB (2018), among others.
Latifa Laâbissi (1964, France), lives and works in Rennes.
Latifa Laâbissi mixes genres and redefines formats to bring onstage a special kind of camera layering of figures and voices. The use of voice and the face as vehicles for certain states became irrevocably entwined with the danced act in Self-portrait camouflage (2006) and Loredreamsong (2010). Then, continuing her examination of the theme of archive, she created Écran somnambule and La part du rite(2012), based on German dance of the 20s. Pourvu qu’on ait l’ivresse (2016) is cosigned with the set designer Nadia Lauro. Since 2011, Latifa Laâbissi has been the Artistic Director of Extension Sauvage, an artistic and pedagogical program located in rural areas of Brittany. In 2016, a monographic book about her whole work is published at Les Laboratoires d’Aubervilliers and Les presses du réel. In 2018, she creates with Antonia Baehr, Consul & Meshie, a simian performance in a visual installation by Nadia Lauro. They also gather, in 2019, for the video Moving Backwards by the duo Pauline Boudry and Renate Lorenz, presented in the Swiss Pavilion of the 58th Venice Biennale. Latifa Laâbissi is an associate artist at the TNB since the 2021-2022 season. In 2021, the TNB Festival hosted the premiere of its latest creation: La nuit tombe quand elle veut, by Latifa Laâbissi & Marcelo Evelin.
The Frac Bretagne presents the first exhibition of the American artist Jibade-Khalil Huffman in France.
Jibade-Khalil Huffman (b. 1981, Detroit, MI) is an artist and writer who uses found, archival material, and contemporary ephemera to address slippage in memory and language, particular to race and visibility. Often working site-specifically, his work takes the form of installation, video, projections, photographic light boxes, and photo collages printed on layered transparencies and paper. Foregrounding the materiality of digital media and its degradation over time, Huffman’s approach dissolves explicit meaning in order to reconstitute it as objects in perpetual flux. Through projection and repetition, his work evokes the untranslatable, ruminating on the liminal qualities of singular experiences through the flattening of symbolic and semiotic hierarchies. Huffman derives much of his practice from the intersection of writing, poetry, found media and common speech, often cutting, sampling and shifting bits of video and excerpts of text into new formats. The idea of erasure—of certain voices, people, and ideas—as subject matter and as technique is central to his practice, in building up and removing layers of material in his videos and two dimensional collages.
Jibade-Khalil Huffman (1981, USA), lives and works in North Carolina.
Jibade-Khalil Huffman is graduated from Bard College in Annandale-on-Hudson, NY (BA, 2003), Brown University in Providence, RI (MFA, 2005) and the Roski School of Fine Arts at the University of Southern California in Los Angeles, CA (MFA, 2013). His work has been featured in solo exhibitions at MoMA (2021) and Magenta Plains (2020) in New York, the Cleveland Museum of Contemporary Art (2019) and the Ballroom Marfa Contemporary Art Center (2018).
Artist inhabited by a buried history of forms, materials and ritual practices, Thomas Teurlai invests spaces all over the world, from white cube to decaying industrial spaces. Uncovering stories, rearranging sounds, sculptures and human sciences, the artist brings back life and movement to abandoned objects and stories. From this meeting between the worlds of alchemy, DIY and the sacred emerge hybrid installations that solicit our erogenous zones. The visitor finds himself involved, body and soul, in these spaces of quirky poetry, where time seems to expand.
For his exhibition at Frac Bretagne, Thomas Teurlai focusses on subsidence, a geological phenomenon describing the sinking of mega-cities due to the pumping of underground water and intensive concreting. This global collapse serves as the start of a filmic wandering in subjective view.
Cyberpunk reverie where a ghost museum wanders its feet in the water, collapsing under the repeated assaults of spores and other antediluvian viruses. A wandering back in time, weaving together seemingly distant spaces.
There will be the mummies of street artists lying on the dusty banks of a stillborn story.
A radioactive granite astrolabe making up the soundtrack, like an inverted monolithic Theremin.
And a text as a epileptic spinning wheel, spinning the way off to exit the tunnel.
On the other side of the stained wormhole.
Thomas Teurlai (1988, France), lives and works in Clichy.
Graduated from Villa Arson, Nice in 2011, he completed his training with a post-diploma from the Lyon art school in 2014. In 2015, he was awarded the 17th Prix de la Fondation Ricard. His work is also presented as part of La Nuit Blanche and Ateliers de Rennes, Contemporary Art Biennale, at the Cantini Museum in Marseille (2016), at the Palais de Tokyo (2017) at La Panacée, Montpellier (2018) and at the Les Tanneries d’Amilly contemporary art center (2019).
[2,3] – for 2 and 3D – is the title of the book by the artist Tauba Auerbach that will enter the collection in 2021 and that the Frac Bretagne will display for the first time in Rennes, from 21 January to 15 May 2022.
In this boxed set of artist’s books, six slim hardcover volumes open onto gigantic shapes inspired by complex geometric figures: pyramid, sphere, ziggurat, octagonal bipyramid (diamond), Möbius strip, etc. Reminiscent of children’s pop-up books, they are revealed in a palette of luminous and contrasting colours which recall the artist’s work.
[2,3] is the universal mathematical symbol for the closed interval between the integers two and three. For Tauba Auerbach, it marks the interstice in which she operates to animate 2D into 3D, allowing the cut-out shapes of the flattened and folded paper to be majestically transformed into expanded sculptures. The apparent fragility of the process starts a dialogue with the manifest qualities of stability and sturdiness traditionally associated with sculpture, to achieve a subtle union of emptiness and fullness.
This development of forms in space constitutes an important stage in the evolution of the artist’s work at the beginning of the 2010s. Until then restricted to optical effects on the flatness of the canvas (shadow plays replicating volume), her works open up to the third dimension and explore in a more comprehensive way this marked interest in the perception and animation of the surface.
Tauba Auerbarch (1981, USA)
The multidisciplinary artist Tauba Auerbach concentrates in her artistic practice the legacy of a visual arts education, a formative experience as a lettering artist and an inexhaustible interest in scientific phenomena.
Although Tauba Auerbach’s inspiration comes mainly from mathematics and physics, her visual investigations, which combine painting, drawing, photography and publishing, also refer to the great themes of art history. Her work interrogates in an unprecedented way certain fundamental themes, amongst which the representation of a three-dimensional reality on a two-dimensional surface, the relationship between abstraction and representation, as well as chromatic perception and the issue of the fourth colour beyond the red-green-blue spectrum (RGB).
Through numerous collaborations with musicians, scientists, engineers and new technology companies, she develops her artistic research by trying to make complex notions perceptible through diverted means and unexpected diagonals. https://www.fracbretagne.fr/wp-content/uploads/2022/01/Pilote-numero3-printemps2022-2-3-1.pdf
Corentin Canesson confronts the constructs and legacies of painting by reconsidering conventional modes of display, questioning the notion of singular authorship, and continually pressing upon the distinction between figuration and abstraction. Canesson’s paintings are often witty and ironic, evident in his choices of playful and wry subject matter such as anthropomorphized animals and passages of text culled from canonical works of art and popular culture. Music is also central to his practice and present throughout his collective work.
Sleep Spaces / Les espaces du sommeil is named for a poem written between 1919 and 1929 by the influential French surrealist poet Robert Desnos. Written with the kind of free associations that are characteristic of surrealist automatic writing, Desnos’ “Les espaces du sommeil” combines the sounds and sights of the night, of dreaming, with the constant refrain, “there you are… there you are.” In Sleep Spaces / Les espaces du sommeil, the surrealist strategy of combining disparate and seemingly incongruous references, objects, and symbols becomes a curatorial conceit to construct new associations, achieved by combining historical and contemporary works of art. Sleep Spaces / Les espaces du sommeil positions the works of artists such as Willem de Kooning and Renée Levi, Ed Ruscha and Corentin Canesson, Joseph Beuys and Shirley Jaffe in productive dialogue within the context of the gallery. These groupings challenge us to consider how we interpret works of art and how curatorial choices aid in this process. Canesson’s site-responsive installation attempts to do just this, by fostering new modes of interpretation through surprising moments of connection.
The exhibition also features an ambient soundtrack with music from Canesson’s experimental band, TNHCH.
With contributions by: Cande Aguilar, John James Audubon, Joseph Beuys, Corentin Canesson, Robert Desnos, Damien Le Dévédec, Jean-Pierre Dolveck, Joey Fauerso, Constance Forsyth, Hilary Galbreaith, Camille Girard and Paul Brunet, Lola Gonzàlez, Josquin Gouilly Frossard, Josselin Guillois, Jim Hamilton, Shirley Jaffe, Ana Jotta, Willem de Kooning, Pierre Leguillon, Renée Levi, Jean-François Maurige, The Missing Season, Joan Mitchell, Samir Mougas, Ester Partegàs, Emily Peacock, Mario Perez, Phillip Pyle, II, Juliette Roche, Ed Ruscha, Alisson Schmitt, Amy Sillman, Gertrude Stein, TNHCH, Anaïs Touchot, Achraf Touloub, Lise Traino, and Nicolas Weber Besora.
Born in 1988, Corentin Canesson lives and works between Brest and Paris.
Graduated from EESAB-Rennes in 2011, he participated to the 21st Prize of Fondation d’entreprise Ricard Le Fil d’Alerte. He has presented solo exhibitions at Satorgallery (2020), at Nathalie Obadiagallery), at Crédac – Centre d’art contemporain d’Ivry-sur-Seine (2017) and at Passerelle Centre d’art contemporain Passerelle de Brest (2015).
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.
Each year, a partner structure in Europe or the rest of the world that is prepared to welcome an artist living and working in Brittany to produce a personal exhibition will be associated with the program.
Internationally renowned for his illustrations produced for prestigious clients such as The New York Times, the Centre Pompidou, Les Inrocks, The Guardian, RCA Records, National Geographic and the Grand Palais, the Breton artist Jean Jullien has been developing a graphic commentary on the contemporary world that is as amusing as it is acerbic.
Populated by what he calls his Paper People, Jullien’s universe draws as much from the popular culture of this child of the 1980s as from the history of poster art – from Ungerer to Savignac. More recently, he returned to the South Finistere coast of his childhood to devote himself to painting. From Lesconil to La Torche, he observes dunes, boats and surfers, with all the genius of the line that we know, giving the feeling of wanting to escape from the schizophrenia of press commentary to put the long time on canvas.
For his solo exhibition Les Pas in Clohars-Carnoët, Jean Jullien invested this small village in Finistere where some of the heroes of the Pont-Aven School settled at the end of the 19th century.
One of his Paper People leaves the paper sheet to go on a journey in the steps of his illustrious predecessors, in volume and on a human scale. We discover him sitting in the tavern-inn where the painters stayed, run at the time by Marie Henry (today reconstituted identically at the Maison Musée du Pouldu), lying on the beach of Le Pouldu whose landscapes and famous light inspired them so much, or working, brush in hand, in the Chapelle Saint-Jacques, transformed into an artist’s studio.
This artistic fiction through the village continues at La Longère with an exhibition retracing the history of Paper People in Jean Jullien’s practice.
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.
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.
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.
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.