Current exhibitions
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
Prix du Frac Bretagne – Art Norac 2026
In partnership with :
Prix du Frac Bretagne – Art Norac 2026
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 Prix du Frac Bretagne – Art Norac. 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 artist to produce a personal exhibition will be associated with the program.
Discover the Prix 2026 finalists’ exhibition!
THE ARTISTS
For this 6th edition, the partner venue is the TRAFO Centre for Contemporary Art in Szczecin, Poland, which will host the winner’s solo exhibition in 2027.
TRAFO opened its doors in 2013. It is located in Szczecin, the Polish capital of Pomerania.
TRAFO’s programme includes exhibitions, research and residency programmes, publishing activities, meetings, concerts and lectures.
It also features an ongoing educational programme, aimed at different age groups, introducing them to issues related to contemporary art.
TRAFO serves as a multifunctional meeting platform for artists and the public, thereby contributing to their introduction to the tools of art by placing them in various contexts and transdisciplinary relationships. Visual works interact with literature, music, theatre, the social sciences and new technologies.
TRAFO is a testing ground for art history. It offers a space dedicated to experimentation and the demonstration of the artistic process, as well as to the production and testing of knowledge.
Artists nominated for the Prix du Frac Bretagne – Art Norac 2026 receive support from the 40mcube art center through the artistforever training platform.
Top image, from left to right : Lena Brudieux © Pierre Saladin / Zoë Grant © Juliette Fanget / Margaux Janisset et Maxence Chevreau © Cléo Robert / Nino Spanu © Juliette Fanget
Magnet
Magnet
Winner of the Frac Bretagne-Art Norac Prize 2025, Elisa Florimond presents a solo exhibition at the Röda Sten Konsthall, Göteborg, Sweden.
Magnet is Elisa Florimond’s first international solo exhibition. The exhibition is the result of a collaboration between Röda Sten Konsthall and Frac Bretagne.
Florimond’s exhibition explores how museums shape, present and classify objects, with a particular focus on the archaeological and natural history collections that emerged during the 18th and early 19th centuries. Drawing on research conducted in various museums and archives, the artist incorporates motifs from, among others, the Gothenburg Natural History Museum.
In Magnet, archival material and facsimiles meet moving images, film stills and miniature sculptures made of soap. This interplay between different forms of expression and materials is also reflected in the exhibition furniture, which functions as artworks in their own right.
In Florimond’s practice, everything is an artwork, while at the same time nothing becomes an artwork without a given context; the exhibition. It´s within the exhibition where new relationships and meanings emerge in what the artist describes as an associative magnetic field – the Magnet.
Curated by Amila Puzić.
THE ARTIST
FRAC BRETAGNE – ART NORAC PRIZE
In 2020, Frac Bretagne and its patron Art Norac created the “Prix du Frac Bretagne – Art Norac” or Frac Bretagne-Art Norac Prize. The aim of this prize is to help emerging artists from the regional scene to gain international experience in order to encourage them to develop their careers outside our borders.
Each year, a partner structure in Europe or worldwide, willing to welcome an artist to produce a solo exhibition, is associated with the scheme.
+ Visit the Salzburger Kunstverein website
+ More information on the Prix du Frac Bretagne – Art Norac/ Frac Bretagne-Art Norac Prize
Image: Elisa Florimond, Numismatique, 2024 © Adagp, Paris. Photo: Robin-Bourgeois
Dormancy
Celina Eceiza – Dormancy
Celina Eceiza (Tandil, Argentina, 1988) will present a new work at Frac Bretagne, continuing the thread of her most recent installations and projects through which she reflects, among other things, on institutional exhibition spaces and their potential to foster forms of hospitality towards the public.
Undoing the notion of the white cube as an ideal setting for contemplation, these works unfold as a total environment- one that visitors traverse while encountering a series of experiences that seek to draw art closer to the body, grounding it in a more physical, embodied, and relational dimension. Rest, leisure, temporary community-built architecture, and practices of care permeate the entire space, revealing connections between them in subtle, non-linear ways.
Through textiles and collective labour, the space is entirely held together by hand stitching, forming a single body that, throughout the journey, reveals and allows the emergence of diverse ways of relating to it. At the same time, the exhibition understands that institutional spaces acquire meaning when education mediates and connects them with diverse communities. Within it, a space will be created for the education department; a living site where activities will unfold over time, developed in close collaboration between the artist and the Frac education team.
Another fundamental aspect of the work lies in understanding one’s own practice through the work of others. Guided by the idea that neither art nor artists think in isolation, Celina will create a space shaped by selected pieces from the Frac collection that she perceives as expanding her own practice. In doing so, she reveals how artistic practice is deeply intertwined with bonds, dialogues, and relations with others.
Opening on Friday 19 June 2026 at 6.30 pm – Free admission, open to all.
Visuel : Un nido es una fruta que se hincha / A nest is a fruit that swells, 2025. Installation view. 18th Istanbul Biennial. Curated by Christine Tohmé. Photo credit: IKSV.
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