Current exhibitions

  • Bassim Magdy, FEARDEATHLOVEDEATH, 2022 (détail) Super 16 film transferred to Full HD, 17 min 15 sec. Commissioned by Röda Sten Konsthall, Gothenburg. Photo : Courtesy de l'artiste

Basim Magdy

Solo show
Frac Bretagne, Rennes



With the support of

Logo Pro Helvetia


Logo Centre culturel suisse On Tour

Basim Magdy


Basim Magdy’s solo exhibition at the Frac Bretagne is a dive into the work of this fascinating artist of Egyptian origin. In his work, the image is considered in an expanded field that unfolds to observe what surrounds him and create parallel realities somewhere between embodied study and critical sublimation. In his paintings, photographs and films, the artist composes from samples of the world. As he wanders, he extracts images, gleans fragments, shapes them, twists them. Like a scientist, he tries experiments with reality to generate secondary realities. Throughout his work, he exposes very complex and convoluted constellations of contemporary social and political power structures, and the ways in which they might bring an end to the world. The dramatic tension of Basim Magdy’s critical fictions is thus based on existing realities and rests on counter-narrative plots, written by the artist and played out against the background of the absurdity of life and the banality of existence.

For his solo exhibition at the Frac Bretagne, the artist has chosen to present a large corpus of recent and older works that he puts in perspective in a floating display. Indeed, everything here is suspended, nothing on the wall or very little. The images, whether painted, photographic or filmic, cohabit in the volume of the space. The narratives they carry intermingle, clash, reinforce each other, and sometimes contradict each other. The artist is testing our ability to be caught up in the universes he offers us to see. The exhibition is an invitation to an introspective journey, an opportunity to embark on a trip, a wandering that is productive of meaning, if we are willing to embark on it.

The artist

Basim Magdy (1977, Egypt) lives and works in Basel

Basim Magdy’s work uses fictional pasts and dystopian futures to offer a critical commentary on the present. His work has been shown in solo and group exhibitions at major institutions around the globe, including MoMA in New York, Centre Pompidou in Paris, MAAT in Lisbon, MCA in Chicago, Castello di Rivoli in Turin, Jeu de Paume in Paris, and recently Röda Sten Konsthall in Gothenburg, Sweden, and the Antoni-Tàpies Foundation in Barcelona. He has also been invited to the Athens, Montreal, Istanbul and Rennes Biennials. He was a finalist for the Future Generation Art Prize of the Pinchuk Foundation in Kiev, Deutsche Bank’s Artist of the Year 2016 and has won several awards including Abraaj, Dubai and The New: Vision, CPH:DOX Film Festival, Copenhagen. His films have been screened in dedicated programming such as at the Tate Modern in London and the International Film Festival in Rotterdam. 


Image : Bassim Magdy, FEARDEATHLOVEDEATH, 2022 (detail) Super 16 film transferred to Full HD, 17 min 15 sec. Ordering by Röda Sten Konsthall, Gothenburg. Photo : Courtesy de l’artiste

By |8 December 2022|Categories: Current Exhibitions, Exhibitions|Tags: , , |0 Comments
  • Liv Schulman, Brown, Yellow, White and Dead Dead, Épisode 1. Capture vidéo © ADAGP, Paris 2023 – Courtesy de l’artiste, galerie anne barrault et Piedras galeria

Liv Schulman

Solo show
Frac Bretagne, Rennes


Liv Schulman


Liv Schulman’s films hijack television codes to engage in a biting analysis of traditional representations of gender and identity. Far from locking herself into scholarly postures, the artist prefers to play with irony and the absurd in order to better undermine all the clichés.

For her solo exhibition at Frac Bretagne, Liv Schulman has chosen to present the two seasons of her television series Brown, Yellow, White and Dead, 2020 and Brown, Yellow, White and Dead Dead, 2022. The public is invited to sit in a sculptural environment to watch the episodes broadcast alternately on either side of the space.

The first season Brown, Yellow, White and Dead, 2020 is a four-episode huis-clos in which Liv Schulman returns to the themes that are dear to her: sexuality, minority rights, but also the creative process. The artist adopts the codes of TV series and reality TV and tackles a cinematographic cliché, that of the film being made. In a makeshift living room, barricaded with large brown cardboard boxes taped shut to isolate the action from the outside world, producers, a director and actors discuss a horror film project which, in the process, is being made before our eyes. The script is read as attempts to direct the film, analyses, criticisms and arguments are made, with the protagonists either biting their toes or rolling on the floor. As is so often the case with Liv Schulman, in this case in piles of slimy, dodgy material, the references place the series in the tradition of films such as François Truffaut’s Day for Night or Jean-Luc Godard’s Keep Your Right Up, in an atmosphere that borrows from gore, Bis cinema or popular horror series. One of the great moments of Brown, Yellow, White and Dead is a lively discussion about the meaning of the insult “faggot”, where the protagonists rub themselves against the walls in a joyful dance that gets out of hand: this is how the film’s LGBTQIA+ commitment manifests itself, unambiguously, but in the liberating mode of a “state of anarchic trance”, making a mockery of those who give lessons.

In the second season Brown, Yellow, White and Dead Dead, 2022, the artist sets the scene in an underground car park. The protagonists of the first season are back, discussing and acting out possible scenarios for a horror film. From the very first episode, the viewer is caught up in the hypnotic spiral of speeches. Disembodied speeches, with no head or tail, spouted by prosumers [1] in perpetual retraining. Here, we know how to make kombucha and kefir, we think we are a shaman, a dietician and a sophrologist. Here, everything is possible, everything is interchangeable. The speeches of the car park present a new masculinity engaged in craft activities or those traditionally associated with women. The time is no longer vertical, as they say. People are setting up their own business while ensuring a less hierarchical organisation of work and production.

Based on Liv Schulman and creative chaos by Vanessa Morisset for Switch on paper, 2021 and Brown, Yellow, White and Dead Dead by Fatma Cheffi, 2022, public document published by the galerie anne barrault for the exhibition The New Inflation, April 9 – May 22, 2022.

[1] This term seeks to describe the tendencies of consumers to become more professional and closer to the figure of the producer (Wikipedia)


Liv Schulman (1985, Argentina) lives and works in Paris 

Liv Schulman studied at the Ecole Nationale Supérieure d’Arts de Paris-Cergy, Goldsmiths University in London, UTDT in Buenos Aires and the Ecole Nationale Supérieure des Beaux-arts, Lyon. Her work has been shown in numerous solo and group exhibitions, notably at the Bemis Center for contemporary arts in Omaha, USA, the CRAC Alsace in Altkirch, the Centre Pompidou in Paris, the Ricard Foundation in Paris, the Reina Sofia Museum in Madrid, the MABA in Nogent-sur-Marne, Triangle France in Marseille and the Galerie Centre d’art contemporain in Noisy-le-Sec. She also participated in the Ateliers de Rennes-Biennale d’art contemporain in 2016.

Image : Liv Schulman, Brown, Yellow, White and Dead Dead, Episode 1. Detail capture © ADAGP, Paris 2023 – Courtesy of the artist, galerie anne barrault and Piedras galeria

By |10 December 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

(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.


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


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.


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

Upcoming exhibitions

  • Une nouvelle aube de Jeremy Deller


Retrospective exhibition
Frac Bretagne, La Criée centre d'art contemporain, Musée des beaux-arts, Rennes

In the context of


With the support of

Logo British Council


Logo Fluxus

Jeremy Deller

Art is Magic

Art is Magic is the first French retrospective of the celebrated English artist Jeremy Deller (1966, London), winner of the prestigious 2004 Turner Prize and Britain’s representative at the Venice Biennale in 2013.
Deller is interested in popular culture and counter-cultures. His artistic inquiries focus not just on social issues and history but also on music. Deller’s oeuvre is tinged with acerbic humour and conscious socio-political discourse, making a connection between vernacular or mass culture and the world of work. The artist’s quest has led him to explore the social history of his country and further afield via the social conflict of the Thatcher era, the pop group Depeche Mode, the world of wrestling, the spawning ground of Brexit… and even acid house and the rave movement. In each case, Deller has constantly strived to involve other people in the creative process.
The Art is Magic exhibition provides a broad overview of Deller’s work from the 1990s to the present day, focusing on 15 major projects and key works that have marked his career. In addition, the event will be an opportunity to publish the first retrospective of the artist’s work in French.

Art is Magic exhibition is a city-wide co-production that takes place in the spaces of Frac Bretagne, La Criée Centre d’art contemporain and the Musée des beaux-arts de Rennes.

It is part of the Exporama summer season organised by the City of Rennes and Rennes Métropole. It resonates with the exhibition Forever Sixties of the Pinault Collection, at the Couvent des Jacobins in Rennes, which explores the spirit of the 1960s between liberation and repression.


Top image : Jeremy Deller, Une Nouvelle Aube, 2021, from the series Warning Graphic Content, 1993-2021 © Jeremy Deller. Photo : Courtesy of the artist

By |30 January 2023|Categories: Exhibitions, Upcoming Exhibitions|Tags: , , , |0 Comments
Go to Top