Current exhibitions
Faire Corps
in partnership with
Faire corps
L’Imagerie and Frac Bretagne photographic collections.
As part of the Glaz – Rencontres internationales de la photographie de Rennes festival, whose 2025 edition explores the links between acts of love and rebellion, L’Imagerie, Centre d’art et de photographie in Lannion, is teaming up with Frac Bretagne for an exhibition based on their respective photographic collections.
Entitled Faire corps, the exhibition brings together works by 16 artists of different nationalities, exploring ways of relating to one another, inhabiting the world together, uniting to resist, love or simply hold on.
“Faire corps” is first and foremost to form a group: to rally, to find oneself around a cause, to walk side by side to make a number, to aggregate in the face of adversity. It’s the political gesture of the collective and the claim to power through commonality.
“Faire corps“ is also the impulse of love: a way of inhabiting the same breath, merging with the other, building a body for two. It’s a place of passion, of friction and tenderness.
Finally, “Faire corps“ is to experience the body as shaped, constrained or celebrated. It’s about what the world does to the body through work, exhaustion or poverty, or, on the contrary, what the body does to the world when it becomes a surface of expression, of identity or social claim, of memory.
The exhibition offers a sensitive and engaging journey through embodied conditions: bodies in struggle, in bond, in love, all saying in their own way what it means to be a body in a fractured world.
ARTISTS
Jean Bizien
Scarlett Coten
Dominique Delpoux
John Demos
François Despatin et Christian Gobeli
Paz Errázuriz
Julie Hascoët
William Klein
Cinthia Marcelle & Tiago Mata Machado
Hélène Martiat
Elena Mazzi
Ben McNutt
Martin Parr
Shanta Rao
Iren Stehli
Image : Julie Hascoët, Murs de l’Atlantique, 2013-2016, Frac Bretagne collection © Julie Hascoët, Photo credit: Julie Hascoët
Prix du Frac Bretagne – Art Norac 2025
In partnership with :
Prix du Frac Bretagne-Art Norac 2025
The Finalists’ exhibition
Brittany is one of the richest regions in France in the visual arts sector. Its large pool of artists is supported by a committed network of actors and venues throughout the territory. But even if there are plenty of opportunities for artists to produce, exhibit and have their work collected, the development of their practice at the international level remains a challenge.
Frac Bretagne and Art Norac have been engaged in the construction of the artistic landscape in Brittany for a long time, with the goal of revealing the artistic talents and initiatives present within the region in the context of contemporary national and international artistic scenes.
In 2020, Frac Bretagne and Art Norac have chosen to join forces in their engagement with artists by creating the Frac Bretagne–Art Norac Award. 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.
Each year, a partner structure in Europe or the rest of the world that is prepared to welcome the finalist artistthe finalist artist to produce a personal exhibition will be associated with the program.
Discover the Prix 2025 finalists’ exhibition!
THE ARTISTS
The winner’s work will be the subject of a solo exhibition at the Röda Sten Konsthall in Gothenburg, Sweden, in 2026.
Partner of the 2025 Prize: the Röda Sten Konsthall in Göteborg, Sweden
The building is a former boiler house built in 1940 for the surrounding factories, and in operation until 1957 when the factories were closed.
In the 1980s-1990s, raves were organized in the building, until it was threatened with demolition in the early 1990s. A group of people rallied to save it and transform it into a place for contemporary art and culture. In 1996, the Röda Sten opened its doors with several exhibitions and shows.
Spread over four floors, the Röda Sten Konsthall offers exhibitions and performances by Swedish and international artists, as well as tours, workshops and lectures, always questioning the society in which we live.
Since 2006, Röda Sten Konsthall has organized the Göteborg International Biennial of Contemporary Art (GIBCA).
Artists nominated for the Prix du Frac Bretagne – Art Norac 2025 receive support from the 40mcube art center through the artistforever training platform.
Top image, from left to right : Johanna Cartier © Nina Medioni / Elisa Florimond © Esteban-Neveu / Andréa Le Guellec © Nadine Le Guellec / Maxime Voidy © Mélanie Passe
Beauregard flottant
Beauregard flottant
Beauregard flottant is the Frac Bretagne’s open-air gallery. It currently features flags created by artists :
As the wind blows, these works of art invite you to take an artistic stroll. They adorn Beauregard, now considered a sensitive and poetic space, a district where art floats.
The location of the masts was defined with local residents: les Embarqué.es de Beauregard.
Free exhibition.
A location map is available at the Frac Bretagne welcome desk.
Beauregard flottant is a participative artistic initiative supported by Frac Bretagne, Territoires Rennes and the City of Rennes.
Image © Frac Bretagne
Upcoming exhibitions
Dancing with a page in hand
Dancing with a page in hand
This retrospective of the work of American choreographer Lucinda Childs explores the practices and methods that shaped the development of postmodern dance at the intersection of pop art and minimal art. The exhibition examines the porosity of these movements, which have been canonised by art history, while highlighting the central role of bodily experience in the transformation of the arts in the 1960s and 1970s.
An iconic choreographer of postmodern dance, Lucinda Childs transforms space into a playground of perfectly mastered lines, circles and trajectories. Refined, it is a poetry of gesture that unfolds, repeats, takes shape and is conceived to choreograph movement in space.
Through archival documents donated by the choreographer to the Centre National de la Danse in 2016, as well as videos, drawings and photos, this is a rare opportunity to discover an innovative approach to dance.
Featuring: Trisha Brown, James Lee Byars, Lucinda Childs, Ruth Childs, Philip Corner, Judith Dunn, David Gordon, Babette Mangolte, Marie Menken, Steve Paxton, Nathaniel Tileston and Andy Warhol.
Curator: Lou Forster
Vernissage open to all on Thursday 29 January 2026 – Free.
Photo: Lucinda Childs, Congeries on Edges for 20 Obliques, 1975 © Lucinda Childs. Courtesy médiathèque du CN D, Fonds Lucinda Childs. Photo: Babette Mangolte
The SPA pets are truck surfing !
The SPA pets are truck surfing !
Francesc Ruiz’s practice centers on comics, which he treats as aesthetic, narrative, and critical material—forms that, beneath their playful surface, harbor subversive potential and function as unofficial channels of communication.
Considering context inseparable from his creative process, Ruiz roamed through Rennes, its center and its outskirts, to compose a poetic vision of the city and its region, built from signs, streets, architectures, infrastructures, and its human and non-human inhabitants, while tracing the intricate dynamics of its urban and geographical vortices.
Invited by Frac Bretagne, the artist presents an immersive installation that transforms the exhibition space into a site devoted to publishing: fanzines displayed on racks, and large-scale posters of trucks reproduced at a 1:1 scale, mediums through which he unfolds a singular narrative about the city that has welcomed him.
Vernissage open to all on Thursday 29 January 2026 – Free.
Photo : © Francesc Ruiz, courtesy Galerie Florence Loewy, Paris
In situ Works
The Hanging Man/Sleeping Man
The Hanging Man/Sleeping Man
The Hanging Man/Sleeping Man wallpaper appeared in several of the artist Rober Gober’s installations. The iconography is intriguing: a lynched black man is hanging from a tree, while a sleeping white man contrasts with the decorative nature of the wallpaper. This scene evokes the history of racial inequality in the United States at a time when American society was shaken by many upheavals: the AIDS epidemic, the culture wars and the Los Angeles race riots.
“By putting this image on a wallpaper that keeps repeating itself, I tried to say, metaphorically, that this was not an isolated event and that, in a way, it has become our background.” Robert Gober
Discover this work from the collection during your visit to Frac Bretagne, Rennes.
The artist
Robert Gober
Born in 1954 in Wallingford (USA)
Lives and works in New York
Since the early 1980s, Robert Gober has explored sexuality, religion and politics in a subversive and enigmatic way.
In addition to these interests, the human body and the object play an important role in his work. As a sculptor, he creates domestic or familiar objects – shoes, sinks, wallpaper – and fragments of the body, which he stages in installations combining sculpture, photography and drawing.
Image : Robert Gober, Hanging Man/Sleeping Man, 1989. Frac Bretagne Collection © Robert Gober. Photo : Richard Dumas
Le Pédilove
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.
Untitled (Corrupting the absolute)
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
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
The sculpture park of Kerguéhennec
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
- François Bouillon, Cène d’extérieur, 1986-1987
- Etienne Hajdu, Sept colonnes à Stéphane Mallarmé, 1969-1971
- Harald Klingelhöller, Mit Buchstaben der Worte : Unrecht schreit (avec les lettres de : l’injustice crie), 1995
- Richard Long, Un cercle en Bretagne (A circle in Brittany), 1986
- Guiseppe Penone, Sentier de charme, 1986
- Jean-Pierre Raynaud, 1000 pots bétonnés peints pour une serre ancienne, 1986
- Ulrich Rückriem, Bild Stock, 1985
- Keith Sonnier, Porte-vue, 1987
Free admission
The park is open every day (except in case of weather alert)
Image : Richard Long, Un cercle en Bretagne (A Circle in Brittany), 1986. Parc du domaine de Kerguéhennec, Bignan © ADAGP, Paris. Photo credit: Florian Kleinefenn.
Saint-Carré
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’nic, Saint-Carré, 1991 © Robert Milin – Photo credit: Frac Bretagne