A film by Pauline Boudry & Renate Lorenz, 2020, 19 min. Choreography/Performance : Julie Cunningham, Werner Hirsch, Joy Alpuerto Ritter, Aaliyah Thanisha
Coproduction :Jindřich Chalupecký Society, Service des affaires culturelles du canton de Vaud, IFFR Rotterdam, Seoul Mediacity Biennale, le Frac Bretagne et le CA2M Madrid
With the support of :
“Can movements simultaneously connect to utopian aspiration and political despair? At a moment when we are increasingly confronted with right-wing conservatism, it seems urgent to disrupt progressive conceptions of time and create a stage for something beyond: what will a minoritarian mode of temporality look like ?
Four performers seem to be rehearsing for a queer time: extreme slowness, being out of synch, changes of rhythms, stillness and breaks are working on escape routes, refusing the deadening beats of labor and the state-sponsored hopeless tacts of being. The performers employ and often deliberately mix a range of dance elements inspired by hip-hop, dancehall, (post-)modern dance and drag performance. Even though they noticeably differ in their styles, they connect through sudden similarities, haunting movements, and body memories, producing and shifting their points of contact.
While the film’s end is also its beginning, the sequence of scenes offers an unpredictable experience of time, not least by raising doubt about how far slowness and ruptures are carried out by the performing bodies or by digital means.” Pauline Boudry & Renate Lorenz
Pauline Boudry & Renate Lorenz work together in Berlin since 2007. They produce films, installations and sculptures with a strong connection to performance, choreographing the tension between narration and abstraction, visibility and opacity. Their performers are choreographers, artists and musicians, with whom they are having a long-term conversation about the conditions of performance and the violent history of the gaze, but also about companionship, glamour and resistance.
Their works have been recently presented at n.b.k, Berlin (2020), at Centre Culturel Suisse, Paris (2018), at the Contemporary Art Museum, Houston – USA (2017). They also have represented Switzerland at the 58th Venice Art Biennale (2019).
Through the use of DIY aesthetics and an often off-the-cuff approach full of humor and self-irony, Finizio has been developing a body of work rooted in the observation of incidents and phenomena that revolve around questions of exchange, value and cultural meaning. His installations operate as both events and models. They entangle the depiction of scripted spaces of commerce, habitat, display, construction, archive and work, with a model-like quality that actively speculates on the uses, statuses, and sentiments that these spaces perform.
As an introduction to his solo exhibition at Frac Bretagne, the artist has decided to speak. Poetic in form, close to slam in its sounds, his text below is intended to both take a position and begin a narrative.
An animal tossed into an empty space, a field or cage
Will quickly make for the corner.
A space, empty to start.
Cold and dark.
A switch discretely niched
To play master of night and day.
On-off. Cool white. Big blank.
w O mb
r OO m
t O mb
All share the same vowel
An O-pening of sorts
Though pronounced the same
only once does that “O” O-ccur twice.
Implying perhaps a tO and frO That you may cOme and gO As you please
A good room has its ins and outs
“Every day I push the broom across the room to make some room for the next day.”
A space is more than its interplay of walls windows and doors.
A space becomes what it is according to what you put inside it, how you arrange those things and their respective qualities.
As Martin Kippenberger beautifully demonstrated with “The happy end of Kafka’s America”
As is visible in my work “How I went In and out of Business for seven Days and Seven Nights”
I’m interested in spaces that take shape from within rather than above.
Space exploration starts at your fingertips.
I’m interested in space as plural and mobile. It happens. Is and was.
I’m looking for the point or moment where one thing becomes several.
Contours become blurred, logic fuzzy
Oscillate IS the steady state. Shapes shift.
Identity takes a hit…
(Put a dent in your “I” !)
The linguistic tyranny of commodities teaches us that a table is a table is maybe a dinner table but is certainly not a desk or workbench.
A table is also a bed, a shelter, a boat, a shield, a table-au
This was the idea behind the title of my exhibition ARKPARKCRAFTRAFTCLINICLUBPUB at MOBY, Bat Yam, Israel
Where the vessel that is the museum building became all those spaces at once.
Names must be tossed aside to feel things fresh
Language needs thickening : put the putty back in poettry (sic).
How sad for a chair to be reduced to a set of logocentric representations.
When we could think things affects such as “sit ass silent softly”
“Jam Econo” as the Minutemen put it.
Make with Hammers for Hands. An art of heart and parts.
Oppose the all-thumbs to the opposable thumb.
Dumb down enjoy the low life and help things help themselves.
Lo-fi semper fi : sea shells can do cell phones.
Low-res rapid proto leaves the imagination free to ponder both the best and the worst.
Finishing is farther than I need to go.
Walk shoestring budgets.
Arrange, rearrange disrupt and derange.
GO GHOST !!!
Ghosts don’t make things. They move things.
They rattle windows and walls, sling furniture and hurl objects, shake the house and all inside…
They trigger encounters and collisions, squat bodies like thieves do cars for joyrides…take possession of them so to speak – ventriloquy.
My economy is the stand-up comic’s.
A glass of water and a microphone, maybe a stool for when the glass gets tired.
The stand-up comic’s condition is not unlike that of the early Christian hermit: each works his schtick spartan and lonely.
Bunuel tapped into this with Simon of the Desert
Overhead is minimal and storage isn’t an issue.
A stand up economy.
I remember a teacher back in art school scolding us for our one-liners,
As if each time we’d committed a shamefully stupid crime.
But if your one liners are good and you can line a few up, you start to have material.
And maybe in those few lines you can say more than your average American author in a six hundred page book.
Francesco Finizio (1967, United States), lives and works in Plouzané.
“Finizio’s work is dictated by the overwhelming material saturation surrounding us. With simple yet sophisticated tools, he utilizes the resources available to him. By employing concrete and everyday means, Finizio’s ongoing research into the languages and gestures of consumerism and mass communications, produce new and poignant articulations of our economic, cultural, social, political and artistic condition.” Joshua Simon, neomaterialism.tumblr.com, upload on 2015 February 20, [read online on 2021 January 29]. Available on https://neomaterialism.tumblr.com/
Francesco Finizio is graduated of a Master of Fine Arts from Hunter College in New York in 1992. In 1997, he completed his formation with a post-diploma at École supérieure des Beaux-Arts, Marseille. From 2000 to 2005, he taught sculpture and video at University Aix-Marseille. He is now teaching at Ecole Supérieure des Beaux-Arts, Brest. His work has been presented at MOBY, Museums of Bat Yam in Tel Aviv – Israel (2015), at CAN in Neuchâtel – Switzerland (2016) or more recently at RDV Gallery in Nantes (2019).
Launched in 2020, he 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.
The Visual Arts Center in Austin in the United States is associated with the program and in 2022 will host the award-winning artist to produce a solo exhibition in its space.
The exhibition at Frac Bretagne presents the nominees.
Corentin Canesson, born in 1988, 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).
Hilary Galbreaith, born in 1989, lives and works in Rennes
Graduated from ESAAA-Annecy in 2017, she presented her work at the Zoo Galerie in Nantes (2018).Finalist for the Sciences Po Prize in 2019, her work is presented the sameyear at Abattoirs, Musée – Frac Occitanie Toulouse and at the Confort Moderne in Poitiers. Sheis part of the 69th Jeune Création edition in Paris in 2020.
Camille Girard et Paul Brunet, born in 1985, born in 1980, live and work in Quimper.
Graduated from EESAB-Quimper in 2008. Their works have been notably presented at Frac des Pays de la Loire in Carquefou (2018), at Mains D’Œuvres in Saint-Ouen(2017), at Halle Nord in Geneva (2017) at Le Quartier Centre d’art contemporain in Quimper (2014).
Samir Mougas, born in 1980, lives and works in Rennes.
Graduated from EESAB-Quimper (2005) and then from a MFA in theNetherlands (2007). His work was presented at the 9th International Design Biennale of Saint-Etienne (2015), at the Printemps de Septembre in Toulouse (2018). In 2019, he worked on a bus lineas part of the Voyage à Nantes. In 2020, his work is the subject of a solo exhibition at Galerie Eric Mouchet, Paris.
Alisson Schmitt, born in 1992, lives and works in Rennes.
Graduated from EESAB-Rennes in 2016 and from a post-graduate research program in Shanghai (2017). In 2018, she was part of Les Chantiers residency program at Passerelle Centre d’art contemporain in Brest, following which she had a personal exhibition. She also presented her work at Musée des Beaux-Arts in Rennes (2016), at the Babel Lelab Festival in Hangzhou and at the SowerArt Space in Shanghai (2018) as well as at Parc-Saint-Léger Centre d’art contemporain in Pougues-les-Eaux (2020).
Anaïs Touchot, born in 1987, lives and works in Brest.
Graduated from EESAB-Brest in design (2010) and in art (2011), herworkhas been presented at CAN in Neuchâtel, at Passerelle Contemporary art center in Brest and at the Festival de L’Estran (2016). The following year, she had a residency in Puerto Colombia as part of the France-Colombia cultural year. In 2019, she created a Pédilove in Frac Bretagne’s Canyon and presented a solo exhibition at L’apparté, acontemporary art venue in Iffendic.
Elsa Vettier is an independent curator and art critic. Trained at the Ecole du Louvre and the University of Essex (United Kingdom), she regularly contributes to specialized journals including Zérodeux, artpress, Critique d’Art, etc. She previously worked alongside Charlotte Laubard for Nuit Blanche 2017 and with Etienne Bernard and Céline Kopp on the occasion of the 6th edition of the Ateliers de Rennes – contemporary art biennial.
His personal projects – curatorial and editorial – emerge in contact with artists and embrace a plurality of formats: between exhibition-performance (“Extasis Casual”, with Samuel Nicolle and Clara Pacotte, In-box Bruxelles, 2019), fiction interview (Saint -Pierre-des-corps, with Jean-Charles de Quillacq, ed. Sombres Torrents, 2020) and radio collaborations (LL Drops, with Kevin Desbouis, Julie Sas and Fabien Vallos, * DUUU radio, 2020). She also works to support artists in residency contexts (Les Chantiers, La Malterie, etc.) and within art schools
Partner structures : Les Balades photographiques – Daoulas, Centre d’art GwinZegal – Guingamp, Festival Photo La Gacilly, Galerie L’Imagerie – Lannion, Galerie Le Lieu – Lorient, Les Champs Libres – Rennes, Frac Bretagne – Rennes
Une traversée photographique en Bretagne
Une traversée photographique en Bretagne (A photographic journey in Brittany) gathers seven art structures which share the same passion for photography in Brittany. Together, they draw routes, stories and adventures to explore what the territory holds in contemporary photographic treasures.
Monographic exhibitions, festival, Breton collections or projects in the public space, Une traversée photographique en Bretagne, this is more than 30 opportunities offered this summer to the public to take a journey through Brittany and photography.
Hop on for Une traversée photographique en Bretagne in Chateaugiron, Daoulas, Guingamp, La Gacilly, Lannion, Lanrivain, Lorient, Rennes, Saint-Briac, Saint-Carré….
This summer, the gates of the old Court House of Pontivy will be adorned with a collection of photographs from the Fonds régional d’art contemporain Bretagne. With more than 5,000 works, the Frac Bretagne’s mission has been to bring contemporary art to Brittany for forty years. It is a public service of culture, supported since its origin by the Region and the Naitional government. In Pontivy, it is therefore natural that it should take over the gates of the Court House, an emblematic building currently being transformed to accommodate the Region’s new services for the population. From here and elsewhere, these photographs present a glimpse of what this common heritage conceals, and are part of the summer tour Une traversée photographique en Bretagne which proposes a jouney through more than 15 exhibitions through out Brittany
Olga Chernysheva (1962, Russie) Lives and works in Moscou.
Gilles Ehrmann (1928-2005, France)
Anita Gauran (1988, France) Lives and works in Rennes.
Raymond Hains (1926-2005, France)
Estelle Hanania (1980, France) Lives and works in Paris.
Bethan Huws (1961, Grande-Bretagne) Lives and works in Berlin.
Guillaume Janot (1966, France) Lives and works in Lyon.
Gabriel Orozco (1962, Mexique) Lives and works in Mexico.
Alain Roux (1956, France) Lives and works in Vachendorf.
Maryvonne Rocher-Gilotte (1940-2012, France).
Stephen Shore (1947, États-Unis) Lives and works in New York.
Eric Tabuchi et Nelly Monnier (1960 et 1988, France) Live and work in Paris.
Hervé Thoby (1959, France) Lives and works in Douarnenez.
TNHCH (acronym for The Night He Came Home) is an experimental rock band founded in Rennes in 2013 by Corentin Canesson (guitars) and Arthur Beuvier (machines, synthesizers).
At first mainly focused on the creation of live performances imagined as part of numerous local artistic events, Damien Le Dévédec (bass, vocals) and Tim Karbon (drums, percussions) joined the band in 2016. They then began writing their first album “Retrospective My Eye” (2017). Both a tribute to the eponymous work of Robert Wyatt and the soundtrack of Corentin Canesson’s personal exhibition at Crédac Centre d’art contemporain d’Ivry-sur-Seine in January 2017, this first opus marks the birth of a more marked sound at the crossroads of punk energy and electronic experiments infused with techno motifs.
In the summer of 2019, while in residence at Lizières art center founded by the multidisciplinary artist Ramuntcho Matta, the group began writing a second album around the texts of poet and art critic Rene Ricard, essential figure of the New York underground scene of the 1970s. TNHCH was then reinforced by Maëla Bescond on lead vocals, and their sound began to gradually oscillate between a trip-hop under opioids and a post-rock mixed with noise guitars and tribal batteries.
At the end of an intensive one-week session of simultaneous composition and recording, the group begins to draw the contours of the project “ULTRA”, whose album was released (still independent) in October 2020 and whose the sleeves, exhibited on Mur du Fonds, were created by 30 fellow artists. Everyone was invited to create a series of ten artworks. In the end, three hundred copies create a strong graphic universe and show how the music of TNHCH intends to keep the link with this formidable artistic scene.
Mathis Collins, Joël Degbo
Le Mur du Fonds
Devoted to the presentation of editorial initiatives, le Mur du Fonds gives prominence to the collection of multiples and artists’ books from Frac Bretagne as well as to artists, graphic designers, editors and students who develop an original approach to publishing. Very reactive, its programming is thought out in exchange and with artistic news.
The Frac Bretagne brings together for the first time the entire film series incorporating central Neanderthal figures produced by British artist Nathaniel Mellors since 2012.
The first film titled The Sophisticated Neanderthal Interview (2012) features an interview between an ethereal “modern” man (Truson) and an apparently real Neanderthal. The modern man is unable to read the Neanderthal’s intelligence and in return the Neanderthal plays with him and his expectations of primitivism. The work reflects on contemporary class and identity separation but also anticipates recent developments in prehistoric science whereby the Neanderthal has been ‘de-objectified’ – moving from idiot relative to a central figure in the evolution of homo-sapiens. The interview appears to take place in a version of mythic ‘Eden’ which Mellors uses as a symbolic point of transition from sustainable hunter-gathering to ecologically untenable ownership. The work was filmed in the historic Bronson Caves in Griffith Park in Los Angeles (recurring filming location for Hollywood westerns and original Batman TV show).
Neanderthal Container (2014) features the reappearance of the character in the form of a Neanderthal stunt-dummy in permanent free-fall. As well as filming the figure falling and bouncing off trees, plants and buildings in and around Los Angeles, Mellors dropped the Neanderthal figure from a plane over the San Joaquin Valley. Mellors conceived the falling figure as depicting an “absolute exterior” and these sequences are punctuated by more psychedelic video fragments depicting the Neanderthal’s interior – a film-set populated by four different versions of the Neanderthal character who reflect on their condition and position “inside the Neanderthal stunt-dummy… which is actually a spaceship.”
Neanderthal Crucifixion (2021) features the return of The Neanderthal character from the previous works as an animated puppet – the new work is made with stop-frame animation and the narrative addresses the Neanderthal’s excitement about his forthcoming retirement, reflections on his cultural innovations “(“I invented houses”) and his social-alienation, class-resentment and prejudice against the new and increasingly prevalent homo-sapiens whose heads appear to be too small.
As a sort of prequel to the trilogy, the exhibition at Frac Bretagne looks back at Ourhouse (2010 – ) British TV drama being eaten from the inside out. It stages the eccentric Maddox-Wilson family’s lives destabilized when their house (‘Ourhouse’) is occupied by The Object (Brian Catling), whom the family fail to recognise as a human-being, each perceiving a different form in its place. The Object yields strange power over words and begins to eat the family’s books; processing their story inside its guts. Each episode of the series is determined by the texts The Object consumes, half-digests and vomitss-back-up.
In Ourhouse Episode -1 (2015-16), presented as part of the exhibition at Frac Bretagne, L’Objet eats The Eternal Present – a book retracing 35,000 years of European rock art.
Nathaniel Mellors (1974, United Kingdom)
Nathaniel Mellors develops an art based on film-making; writing scripts as well as directing and editing them, and working closely with actors such as Patrick Kennedy and David Birkin. To these films, he adds works based on sculpture and photograms, such as the ones that can be seen in this show. His studio works incorporate humor, irreverence, the poetic and the absurd but to address themes of ownership, history, power, morality etc. By drawing inspiration from the techniques linked to cinematographic fictions, he inscribes his work within given contexts of the social reality that he questions and analyzes. He explores our tastes, morality, habits and the various ideas anchored in our collective memory.
Nathaniel Mellors is graduated from the Royal College of Art in London in 2001. His work has notably been shown at the Hammer Museum in Los Angeles and at the Art: Concept Gallery, Paris (2014); at the 57th Venice Biennale with ErkkaNissinen for the Finnish Pavilion (2017); at the New Museum in New York (2018); at The Box, Los Angeles and at Matt’s Gallery in London (2019).
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 I) and the other video (Ghost Party II).
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 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. On Summer 2019, the Festival de Marseille welcomes the premières of her last creation, White Dog, a choreography for 4 performers.
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).