Current exhibitions


Pauline Boudry & Renate Lorenz
12.02 - 19.09.2021
Frac Bretagne, Rennes


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).

Images : Pauline Boudry & Renate Lorenz, (No)Time (screenshot), 2020. Photo credit : Aurélien Mole

Go ghost!

Francesco Finizio
12.02 - 19.09.2021
Frac Bretagne, Rennes

Go Ghost!


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.


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).

Image : © Francesco Finizio. Photo credit : Aurélien Mole

Mauve Zone

Corentin Canesson, Hilary Galbreaith, Camille Girard & Paul Brunet, Samir Mougas, Alisson Schmitt, Anaïs Touchot
12.02 - 19.09.2021
Frac Bretagne, Rennes
With the support of :

 In partnership with :


Mauve Zone

Frac Bretagne-Art Norac Award 2021 : The Nominees


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.

The artists

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.




Download the press release


Elsa Vettier, curator

Elsa Vettier

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


About the Award


Top images : Corentin Canesson © Anne-Laure Buffard, Hilary Galbreaith © Sebastiano Pellion di Persano, Camille Girard & Paul Brunet © Margot Montigny, Anaïs Touchot, Alisson Schmitt © Margot Montigny, Samir Mougas.
In the slider : Mauve Zone exhibition’s views. Photo credit : Aurélien Mole.

  • Michel Thersiquel, Sans titre, de l'ensemble Le pays Bigouden. Collection Frac Bretagne © Michel Thersiquel-Les Amis de Michel Thersiquel

Coca-Cola triskel

Logo Une Traversée photographique en Bretagne
10.07 - 29.08.2021
Galerie du Faouëdic, Lorient

Coca-Cola triskel | Photographs from the Frac Bretagne collection

Coca-Cola triskel is the facetious title of a work by Raymond Hains, but it is also the unlikely union of modernity and tradition. This disparity is so characteristic of Brittany. At the invitation of the city of Lorient and the Lorient Interceltic Festival, the Frac Bretagne has put up an exhibition celebrating this theme of the territory, led by artists who live or have lived in Brittany, and who have been greatly inspired by this land.


Isabelle Arthuis (1969, France) Lives and works in Brussels.
Virginie Barré (1970, France) Lives and works in Douarnenez.
Muriel Bordier (1965, France) Lives and works in Rennes.
Daniel Challe (1961, France) Lives and works in Lorient.
Anita Gauran (1988, France) Lives and works in Rennes.
Raymond Hains (1926-2005, France)
Malick Sidibé (1936-2016, Mali)
Eric Tabuchi and Nelly Monnier (1960 and 1988, France) Live and work in Paris.
Michel Thersiquel (1944-2007, France)
Yves Trémorin (1959, France) Lives and works in Rennes.


Exhibition to discover at the galerie du Faouëdic, boulevard Général Leclerc in Lorient from Wednesday to Sunday, from 2 p.m. to 7 p.m.
Free exhibition and free entry.

Une Traversée photographique en Bretagne

Imagery: Michel Thersiquel, Sans titre, de l’ensemble Le pays Bigouden. Collection Frac Bretagne © Michel Thersiquel-Les Amis de Michel Thersiquel

  • Esteban Richard


Esteban Richard
03.07 - 19.09.2021
Abbatial church of Saint-Maurice, Clohars-Carnoët


Logo Une Traversée photographique en Bretagne


Esteban Richard’s work is one of those emerging practices that combine formal ambition and responsible commitment. Deeply aware of the environmental issues that threaten our planet, the young artist builds an active artistic work that is not satisfied with denouncing or indicting the human impact on the natural environment, but which is born and nourished by the citizen’s gesture in the service of a necessary transformation of our habits. With as much poetry as generosity, he also invites the public to join him in his approach.

Invited to exhibit at the Saint-Maurice abbey in Clohars-Carnoët in Finistère which has long been committed to a cultural approach to environmental issues, Esteban Richard has chosen to present and continue his Totem series, which was initiated upon his graduation from the Ecole Européenne d’Art de Bretagne – Brest in 2014 and which took him to the coasts of Brittany and Greenland. Now emblematic of his practice, this series of objects constitutes for him the first real iteration of his awareness of the possibility of mixing in one and the same activity his artistic practice and his passion for the ocean, as well as his curiosity for the universe of marine biology and ecology.

The principle is simple, effective, pragmatic, and straightforward in both artistic and ecological terms. The artist surveys the coastline to glean plastic waste washed up by the waves. Once the collection is complete, Esteban Richard processes this raw material, combining grinding and modelling to produce shapes evocative of the marine vocabulary. These are then threaded onto masts to produce his Totem before being installed on the coast, not far from the place where the plastic materials were discovered, like so many signposts of an imperative collective commitment.

“Although the shapes are stacked, like pearls, it is rather the idea of the abacus that I am invoking. Each pole is made from a specific weight of plastic, the nature and provenance of which are clearly established. This information is also indicated on a caption attached to each Totem. Buoys and floating beacons are also objects that influence me a lot. I wanted to preserve a certain language, a vocabulary of forms specific to the maritime world. These geometric figures, like the buoys, evoke a kind of signposting, a kind of informative or preventive code that does not distort the landscape. “

During a residency of several weeks in Clohars-Carnoët, Esteban Richard proposed to locals to go on a collection with him to produce new forms emanating from this very territory.

Esteban Richard

Born in 1990, lives and works in Brest.
Graduated of EESAB-site in Brest in 2014, Estéban Richard is a visual artist committed to eco-responsible research in the marine environment. He participated in the AKTA expeditions in Greenland and Sailing Hirondelle and worked as a scientific mediator in marine biology and ecology at Océanopolis in Brest from 2019 to 2021. His work has been exhibited at the Frac Bretagne in Rennes and at the Raymond Hains gallery in Saint-Brieuc in 2015, as part of Rendez-vous in Saint-Briac-sur-Mer and the Festival de l’Estran in 2016 and at Passerelle Centre d’art contemporain in Brest in 2017.


Exhibition to discover at the Saint-Maurice abbey in Clohars-Carnoët:

  • Every day from 11 a.m. to 7 p.m. except the sunday from 11 a.m. to 6 p.m.

Entrance fees (no supplement for the exhibition):

  • Full price (+16 years old): 5€
  • Reduced price (12-16 years old, unemployed person, students, Finistère passport, disabled people, Guide du Routard): 3€
  • Free: children under 12

+ Visit the Clohars-Carnoët website

Une Traversée photographique en Bretagne

Imagery: © Esteban Richard

  • Elsa & Johanna, Evening cleaning Beyond the shadows 2018, © ADAGP, Paris 2021

Elsa & Johanna | Festival Air de fête

Logo Une Traversée photographique en Bretagne
03.07 - 19.09.2021
In the streets of the town center, Saint-Briac

Elsa & Johanna | Festival Air de fête

Elsa & Johanna have made it their obsession to get under the skin of others. Slipping into the daily lives of strangers, they travel through geographical and cultural territories to adopt other realities. Invited by the Frac Bretagne to “flag” the streets of Saint-Briac, the two artists invest some thirty flags, projecting this small seaside town into the peregrinations of their combined gaze.

+ Visit the Saint-Briac-sur-mer website

Free exhibition

Une Traversée photographique en Bretagne

Imagery: Elsa & Johanna, Cochrane, de la série Beyond the shadows, 2018 (détail) © Paris Adagp, 2021

  • Georges Dussaud, Telmado, de la série Tras os montes, août 1981, collection Frac Bretagne © Georges Dussaud

Georges Dussaud

Logo Une Traversée photographique en Bretagne
26.06 - 29.08.2021
Keep of the castel, Châteaugiron

Georges Dussaud | Photographs from the Frac Bretagne collection

Georges Dussaud, even if he has been living in Chateaugiron for many years, is also and above all a citizen of the world. From Portugal to Greece, from Ireland to India, or on the path of Brittany, his steps lead him to the discovery of rural territories marked by tradition. Represented in the collection of the Frac Bretagne since the early 1980s, his work has something universal about it, taking on a poetic meaning when faced with man and his condition.


Georges Dussaud was born on 4 March 1934 in Brou, Eure et Loir. He currently lives in Châteaugiron and has been working in Brittany, Portugal, India, Cuba and all over the world since 1975.


Exhibition to discover in the keep of Châteaugiron castle:
• Wednesday and Friday from 2 p.m. to 5 p.m.
• Saturday from 11 a.m. to 1 p.m. and from 2 p.m. to 6 p.m.
the first Sunday of the month from 10 a.m. to 1 p.m.
Closed on public holidays
Free entry.

Une Traversée photographique en Bretagne

Imagery: Georges Dussaud, Telmado, from the serie Tras os montes, august 1981, Frac Bretagne collection (detail) © Georges Dussaud

  • Stephen Shore, Natural Bridge, New York, July 31, 1974, 1974 De la série From the serie © Stephen Shore. Courtesy 303 Gallery, New York

Photographs from the Frac Bretagne Collection

Une traversée photographique en Bretagne
13.05 - 19.09.2021

Photographs from the Frac Bretagne Collection

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, Russia) 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, Great Britain) Lives and works in Berlin.
Guillaume Janot (1966, France) Lives and works in Lyon.
Gabriel Orozco (1962, Mexico) Lives and works in Mexico city.
Alain Roux (1956, France) Lives and works in Vachendorf.
Maryvonne Rocher-Gilotte (1940-2012, France).
Stephen Shore (1947, USA) Lives and works in New York.
Eric Tabuchi and Nelly Monnier (1960 and 1988, France) Live and work in Paris.
Hervé Thoby (1959, France) Lives and works in Douarnenez.

Free exhibition

Une Traversée photographique en Bretagne

Imagery: Stephen Shore, Natural Bridge, New York, July 31, 1974, 1974 From the serie Uncommon Places (detail) © Stephen Shore. Courtesy 303 Gallery, New York

  • Une traversée photographique en Bretagne

Une traversée photographique en Bretagne

Exhibitions journey
01.04 - 30.09.2021
Throughout the region
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….

All programming

Image : Logo par Loriane Panel © Une traversée photographique 


Group show
12.02 - 23.05.2021
Frac Bretagne, Rennes


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.

The artists

Clémentine Adou
Hélène Baril
Eva Barto
Romane Bourdet
Hugo Capron
Antoine Carbonne
Jean-Damien Charmoille
Mathis Collins, Joël Degbo
Hilary Galbreaith
Muriel Giroux
Charlotte Houette
Hélène Janicot
Ana Jotta
Petr Kirusha
François Lancien-Guilberteau
Bérénice Lefebvre
Renée Levi
Ramuntcho Matta
Jean-François Maurige
Julien Monnerie
Ryu Nishiyama
Marianne Pradier
Jinnie Roche
Lise Stoufflet
Benjamin Swaim
David Tramut
Virginie Vallée
Xiao Wang

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.

Visit Frac Bretagne

Image : Le Mur du Fonds, ULTRA by TNHCH © Frac Bretagne. Photo credit : Aurélien Mole

Upcoming exhibitions

Permanent Presents

Nathaniel Mellors
08.10.2021 - 02.01.2022
Frac Bretagne, Rennes

Permanent Presents

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 Erkka Nissinen 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). 

Visit Frac Bretagne

Image : Nathaniel Mellors, Neanderthal Container (screenshot), 2014

By |19 November 2020|Categories: Exhibitions, Upcoming Exhibitions|Tags: , , , |0 Comments

Louise Mutrel

08.10.2021 - 02.01.2022
Frac Bretagne, Rennes

Louise Mutrel

Anchored in a resolutely saturated and pop photographic aesthetic, Louise Mutrel’s work combines popular and vernacular icons from here and elsewhere. Her images and their colours corrupt the black façade of the very minimal Frac Bretagne facing the no less minimal Alignment of the XXIst Century by Aurélie Nemours.

When her photographs leave the digital format for the analogue printing process of rizography, Louise Mutrel uses the Frac Bretagne as a wall in the digital meaning. Japanese urbanities, evocation of Z movies or other games of forms and objects compose a visual flow on the scale of architecture.



Born in 1992, Louise Mutrel works in Arles and Paris. She graduated from both the Haute École d’Art du Rhin in Strasbourg and the École Nationale Supérieure de Photographie d’Arles. In 2017, in Japan, she collaborated with local artisans by experimenting with Washi, a precious traditional Japanese paper. Since 2020, she has been building a plastic and photographic journey with rizography printing. Her work has been presented notably at La Villette, Paris in 2021, at the Rencontres Internationales de la Photographie d’Arles in 2019 or at the Institut Français de Tokyo in 2018.

Images : Risographies, details © Louise Mutrel

By |26 June 2013|Comments Off on Exhibitions
  • Randa Maroufi, Barbès, from the series Les Intruses 2019 (detail) ADAGP

Ces dernières années

Maja Bajevic, Estelle Hanania, Piero Gilardi, Eva Kot’átková, Anna López Luna, Vincent Malassis, Cinthia Marcelle et Tiago Mata Machado, Randa Maroufi, Anita Molinero, Delphine Reist, Anna Solal, Lucy Stahl
08.10.2021 - 02.01.2022
Frac Bretagne, Rennes


Ces dernières années


Autumn 2021. The world is slowly emerging from the lethargy imposed by the global pandemic. What we all hope will be a global accident will have acted as a magnifying glass on social and societal inequalities. If the entire planet has suffered from this virus, it is clear that we have not been treated equally according to our social condition, our skin color, our gender or our country. Beyond the COVID-19 crisis, the last few years have also generated real awareness that we hope will last. Whether they reveal themselves through violent or pacifist demands, legitimate or debatable, they have nevertheless allowed us to “problematize” a world too reluctant to question its fundamentals

The exhibition Ces dernières années proposes to look together at how the artworks that have recently entered the collection of the Frac Bretagne reflect the sounds of our world. They evoke with poetry and commitment the feminist and ecological questions, the notions of withdrawal and confinement, popular struggles or social conditions.

Finally, because a public collection of contemporary art is also, and perhaps even above all, a meeting of artistic expressions present and active in a here and now.

Maja Bajevic
Born in 1967. Lives and works in Sarajevo, Berlin and Paris.

Estelle Hanania
Born in 1980. Lives and works in Paris.

Piero Gilardi
Born in 1942. Lives and works in Turin.

Eva Kot’átková
Born in 1982. Lives and works in Prague.

Anna López Luna
Born in 1983. Lives and works in Paris.

Vincent Malassis
Born in 1979. Lives and works in Rennes, Brest and Charleroi.

Cinthia Marcelle, Tiago Mata Machado
Born in 1974, born in 1973. Live and work in Belo Horizonte.

Randa Maroufi
Born in 1987. Lives and works in Paris.

Anita Molinero
Born in 1953. Lives and works in Paris.

Delphine Reist
Born in 1970. Lives and works in Genève.

Anna Solal
Born in 1988. Lives and works in Paris and Marseille.

Lucy Stahl
Born in 1977. Lives and works in Berlin and Los Angeles.

Scrolling images : 

  1. Cinthia Marcelle, Tiago Mata Machado, Rua de Mão Única (Rue à sens unique),
    from the series : Série B, 2013  © Cinthia Marcelle & Tiago Mata Machado

    Photo credit : Courtesy Galeria Vermelho
  2. Anna López Luna, Cœurs de luttes, 2020 © Adagp, Paris 2021
    Photo credit : Courtesy de l’artiste
  3. Delphine Reist, France, 2016 © Delphine Reist
    Photo credit : Courtesy Galerie Laurent Godin
  4. Anna Solal, Le déjeuner sur l’herbe, 2019 © Adagp, Paris, 2021
    Photo credit : Aurélien Mole

Banner at the top of the page : Randa Maroufi, Barbès, from the series Les Intruses, 2019 (detail)
© Adagp, Paris 

By |20 November 2020|Categories: Upcoming Exhibitions|Tags: , , |0 Comments

Thomas Teurlai

21.01 - 15.05.2022
Frac Bretagne, Rennes

Thomas Teurlai

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). 

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Image : © Thomas Teurlai

By |15 November 2020|Categories: Exhibitions, Upcoming Exhibitions|Tags: , , , , |0 Comments

Ghost Party

Latifa Laâbissi & Manon de Boer
21.01 - 15.05.2022
Frac Bretagne, Rennes
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)

Ghost party

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.

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Image : Ghost Party (detail), Manon de Boer & Latifa Laâbissi

By |17 November 2020|Categories: Exhibitions, Upcoming Exhibitions|Tags: , , , , , |0 Comments
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