The Frac Bretagne brings together for the first time the entire film series incorporating central Neanderthal figures produced by British artist Nathaniel Mellors since 2012.
The first film titled The Sophisticated Neanderthal Interview (2012) features an interview between an ethereal “modern” man (Truson) and an apparently real Neanderthal. The modern man is unable to read the Neanderthal’s intelligence and in return the Neanderthal plays with him and his expectations of primitivism. The work reflects on contemporary class and identity separation but also anticipates recent developments in prehistoric science whereby the Neanderthal has been ‘de-objectified’ – moving from idiot relative to a central figure in the evolution of homo-sapiens. The interview appears to take place in a version of mythic ‘Eden’ which Mellors uses as a symbolic point of transition from sustainable hunter-gathering to ecologically untenable ownership. The work was filmed in the historic Bronson Caves in Griffith Park in Los Angeles (recurring filming location for Hollywood westerns and original Batman TV show).
Neanderthal Container (2014) features the reappearance of the character in the form of a Neanderthal stunt-dummy in permanent free-fall. As well as filming the figure falling and bouncing off trees, plants and buildings in and around Los Angeles, Mellors dropped the Neanderthal figure from a plane over the San Joaquin Valley. Mellors conceived the falling figure as depicting an “absolute exterior” and these sequences are punctuated by more psychedelic video fragments depicting the Neanderthal’s interior – a film-set populated by four different versions of the Neanderthal character who reflect on their condition and position “inside the Neanderthal stunt-dummy… which is actually a spaceship.”
Neanderthal Crucifixion (2021) features the return of The Neanderthal character from the previous works as an animated puppet – the new work is made with stop-frame animation and the narrative addresses the Neanderthal’s excitement about his forthcoming retirement, reflections on his cultural innovations “(“I invented houses”) and his social-alienation, class-resentment and prejudice against the new and increasingly prevalent homo-sapiens whose heads appear to be too small.
As a sort of prequel to the trilogy, the exhibition at Frac Bretagne looks back at Ourhouse (2010 – ) British TV drama being eaten from the inside out. It stages the eccentric Maddox-Wilson family’s lives destabilized when their house (‘Ourhouse’) is occupied by The Object (Brian Catling), whom the family fail to recognise as a human-being, each perceiving a different form in its place. The Object yields strange power over words and begins to eat the family’s books; processing their story inside its guts. Each episode of the series is determined by the texts The Object consumes, half-digests and vomitss-back-up.
In Ourhouse Episode -1 (2015-16), presented as part of the exhibition at Frac Bretagne, L’Objet eats The Eternal Present – a book retracing 35,000 years of European rock art.
Nathaniel Mellors (1974, United Kingdom)
Nathaniel Mellors develops an art based on film-making; writing scripts as well as directing and editing them, and working closely with actors such as Patrick Kennedy and David Birkin. To these films, he adds works based on sculpture and photograms, such as the ones that can be seen in this show. His studio works incorporate humor, irreverence, the poetic and the absurd but to address themes of ownership, history, power, morality etc. By drawing inspiration from the techniques linked to cinematographic fictions, he inscribes his work within given contexts of the social reality that he questions and analyzes. He explores our tastes, morality, habits and the various ideas anchored in our collective memory.
Nathaniel Mellors is graduated from the Royal College of Art in London in 2001. His work has notably been shown at the Hammer Museum in Los Angeles and at the Art: Concept Gallery, Paris (2014); at the 57th Venice Biennale with ErkkaNissinen for the Finnish Pavilion (2017); at the New Museum in New York (2018); at The Box, Los Angeles and at Matt’s Gallery in London (2019).
Image of the banner: Nathaniel Mellors, Neanderthal Container (screenshot), 2014
Images of the carousel: Views of the exhibition Nathaniel Mellors Permanent presents, presented at Frac Bretagne, Rennes, from October 8, 2021 to January 2, 2022. Photo credit: Aurélien Mole
With a resolutely saturated and pop photographic aesthetic, Louise Mutrel’s work combines popular and vernacular icons from here and elsewhere. Her photographic approach claims the image in its contemporary use. She evacuates any notion of materiality attributed a priori. No more prints, mats or frames. The artist postulates a free image, always in movement and whose nomadism allows it to exist in the abyssal flow of social networks or in various forms such as the printed flags adorning the gallery at La Villette or today on the façade of the Frac Bretagne.
However, if she knows how to free herself from the classic codes of the photographic medium, Louise Mutrel chooses not to entrust everything to digital technology, preferring an analog, mechanical and profoundly plastic approach to the manipulation of the visual through the risographic process. A popular offset photocopying method that originated in Japan in the 1950s and was widely used throughout the world until the 2000s, risography gives images a screened texture and an immediately identifiable acidic colour palette. While one might see in the use of this printing technique a touch of nostalgia and a pronounced taste for a certain “vintage” look, the artist’s approach is, on the contrary, perfectly consistent with a practice situated in our time. Risography acts as a filter, but when many of her contemporaries willingly indulge in intensive “photoshop”, Louise Mutrel takes hold of the material to brillantly play with colours and printing.
Presented in large format, her images act as giant bumper stickers that corrupt the black façade of the very minimal Frac Bretagne. This impenetrable glass wall is illuminated by her photographs to become a “wall” in the digital sense of the word on which the images scroll, unfold and construct a visual and rhythmic adventure. The supposed neutrality of the building becomes a field of possibilities, a paradoxically blank page that comes alive with the aesthetic peregrinations of the young photographer.
Louise Mutrel invites us on an “exploded road trip”, she says. It is made of trucks, alpine landscapes, rocks, a car park (whose pylons delightfully echo the granite alignments of Aurelie Nemours) but also more abstract forms in a poetic and dreamlike collage on the scale of the building. She says little about her subjects. They are offered to our gaze and it is now up to us to imagine their history. All she tells us is that her framing is inspired by Japanese ukiyo-e prints, “images of the floating world” in French.
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 : View of the exhibition Vent Violet by Louise Mutrel, presented on the façade of the Frac Bretagne, Rennes, from October 8th 2021 to January 2nd 2022. Photo credit : Aurélien Mole
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.
Iván Argote Born in 1983. Lives and works in Paris.
Maja Bajevic Born in 1967. Lives and works in Sarajevo, Berlin and Paris.
Born in 1980. Lives and works in Paris.
Born in 1942. Lives and works in Turin.
Group of anonymous artists founded in 1985 in New York.
Anna López Luna
Born in 1983. Lives and works in Paris.
Born in 1979. Lives and works in Rennes, Brest and Charleroi.
Born in 1987. Lives and works in Paris.
Born in 1953. Lives and works in Paris.
Born in 1970. Lives and works in Genève.
Born in 1975. Lives and woks in Londres and Glasgow.
Born in 1988. Lives and works in Paris and Marseille.
Born in 1977. Lives and works in Berlin and Los Angeles.
Presented in the Frac Bretagne’s Canyon, the exhibition Partir un jour recalls how travel has been part of graffiti culture since its earliest days and illustrates the explorations of French graffiti artists around the world. It gathers various documents and objects gleaned during their excursions, photographs and video testimonies, travel diaries as well as works inspired by these experiences in unknown territory. The variety of these documents allows the visitors to apprehend the specificities of these trips dedicated to the practice of graffiti, but also to understand how the discovery of new horizons inspires the studio work of these artists.
Beyond the aesthetic aspect, the question of territory has always been at the heart of graffiti and its practices. Marking one’s pseudonym, first in a close environment and progressively in a wider and wider perimeter, is one of the foundations of this movement. To be a graffiti artist is to observe the city, to explore it, to appropriate it and always to leave in search of new territories.
This “culture of travel” inherent to the practice of graffiti is largely unknow to the general public.
While the United States (the cradle of graffiti) have for a long time been reduced to the New York and Los Angeles scenes, Europe on the other hand was, from the very beginning of this movement, the scene of incessant back and forth between different European capitals.
From the middle of the 1980s, the secret community of European graffiti artists gathered around the mythical Parisian wasteland of “Stalingrad”. Hidden behind the walls of the building site, the French, English, Dutch, German or Scandinavian graffiti artists met there, and this well before the appearance of new technologies.
Following in the footsteps of their elders, the new generations of graffiti artists have continued to cross borders in search of new supports, new contexts, new cultures, discovering local scenes that they sometimes did not know existed. United by a universal visual language, they met, sometimes confronted, shared their know-how, their customs, their identity and defined a global scene while propagating their practice in the most remote areas.
This taste for adventure, for discovery, for meeting and sharing has nourished their creative sense as they have matured. In doing so, the graffiti artists became urban artists, making travel as important as the practice of graffiti.
Painters, illustrators, sculptors, performers, photographers or video artists have all in common this atypical path where the work is mixed with life, and reveals in various forms the peregrinations of their authors.
Sonik, Honet, Poch, Seth, Pablo Cots, Road Dogs…
Nicolas Gzeley and Patrice Poch
The exhibition is completed by a hanging on the Mur du Fonds of photographs related to the various trips made by the members of the MILES UNLIMITED TOURING CLUB, site founded by 2SHY and HONET with many guests: MILES UNLIMITED TOURING CLUB.
Image : Honet, Rock and Poch, India, 2007 – Photo credit : Rock
Centre culturel Le Belvédère, Guer, Mairies de Saint-Malo de Beignon et Réminiac, Médiathèque de Missiriac
From a collection of contemporary works of art, assembled since the beginning of the 80s and today rich in 5000 works, the Frac Bretagne develops its mission of raising awareness of art throughout the regional territory by promoting the meeting, exchange and sharing.
It is in this dynamic that the new collaboration between Frac Bretagne and the federation of municipalities of Oust in Brocéliande are part of : to make contemporary creation accessible in different places and to make it discover to the public. Echoing the theme of the cultural season about water, the selection of works made within the Frac Bretagne collection attempts to offer a varied and eclectic sample of the multiple variations offered by the artists on the subject, in different fields of visual arts: photography, drawing, painting, etc.
This project takes on a participatory dimension through its deployment in three municipalities in the territory, associating elected officials and local actors in the choice of works that they are keen to welcome in their spaces.
Artworks from Frac Bretagne Collection and Ille-et-Vilaine County Collection.
Collaborative project between Le Belvédère à Guer and the municipalities of Missiriac, Réminiac and Saint-Malo de Beignon.
Belvédère, Guer : Place Gravedona ed uniti
from Tuesday to Friday, 2 p.m. – 6 p.m. and Saturdays 6, 13, 20, 27 November and 4 December, 10 a.m. – 12:30 and de 1:30 p.m. – 4 p.m.
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.
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.
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.
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.
Corentin Canesson confronts the constructs and legacies of painting by reconsidering conventional modes of display, questioning the notion of singular authorship, and continually pressing upon the distinction between figuration and abstraction. Canesson’s paintings are often witty and ironic, evident in his choices of playful and wry subject matter such as anthropomorphized animals and passages of text culled from canonical works of art and popular culture. Music is also central to his practice and present throughout his collective work.
Sleep Spaces / Les espaces du sommeil is named for a poem written between 1919 and 1929 by the influential French surrealist poet Robert Desnos. Written with the kind of free associations that are characteristic of surrealist automatic writing, Desnos’ “Les espaces du sommeil” combines the sounds and sights of the night, of dreaming, with the constant refrain, “there you are… there you are.” In Sleep Spaces / Les espaces du sommeil, the surrealist strategy of combining disparate and seemingly incongruous references, objects, and symbols becomes a curatorial conceit to construct new associations, achieved by combining historical and contemporary works of art. Sleep Spaces / Les espaces du sommeil positions the works of artists such as Willem de Kooning and Renée Levi, Ed Ruscha and Corentin Canesson, Joseph Beuys and Shirley Jaffe in productive dialogue within the context of the gallery. These groupings challenge us to consider how we interpret works of art and how curatorial choices aid in this process. Canesson’s site-responsive installation attempts to do just this, by fostering new modes of interpretation through surprising moments of connection.
The exhibition also features an ambient soundtrack with music from Canesson’s experimental band, TNHCH.
Born in 1988, Corentin Canesson 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).
The 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.
Each year, a partner structure in Europe or the rest of the world that is prepared to welcome an artist living and working in Brittany to produce a personal exhibition will be associated with the program.
Coproduction : WIELS Centre d’art contemporain – Bruxelles (BE) , Frac Bretagne – Rennes (FR), Kunstencentrum BUDA – Courtrai (BE), la Communauté flamande de Belgique, Museum Dhondt Dhaenens – Deurle (BE), Netwerk – Aalst (BE), Kunstendecreet (BE), Fondation Serralves – Porto (PT), Théâtre de Poche – Hédé-Bazouges (FR)
Artist Manon de Boer and choreographer Latifa Laâbissi meet in 2015 during a workshop around the influence of Oskar Schlemmer and the fluidity of working across media and different artistic languages. For both, pluridisciplinarity is essential to their work. They decide to deepen their collaboration in a deliberately dilated, stretched temporality, and in diversified work contexts like itinerant conversations, memories of reading and gardening, correspondence and collages.
Their dialogue steps out from result-driven processes, steady rhythms and prefigured calendars. Both de Boer and Laâbissi have consolidated trajectories and working methods and saw in their collaboration an occasion to challenge inertia and function differently. In this way, and over time, they are building a common corpus of images, a mental map that they activate and explore, questioning each other’s discipline and advancing into a priori unknown territory.
The project Qui parle? / Wie spreekt? puts the voice at the fore front. It questions the voice’s timbre, language and accent.
The project has 2 parts: one choreographic (Ghost Party I) and the other video (Ghost Party II).
Manon de Boer (1966, India), lives and works in Brussels.
Manon de Boer completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated.
Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), São Paulo Biennial (2010), Documenta (2012), Taipei Biennial (2016) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), South London Gallery (2010), Contemporary Art Museum of St Louis (2011), Museum of Art Philadelphia (2012), Van Abbe Museum, NL (2013), Secession Vienna (2016) and Groundwork, GB (2018), among others.
Latifa Laâbissi (1964, France), lives and works in Rennes.
Latifa Laâbissi mixes genres and redefines formats to bring onstage a special kind of of camera layering of figures and voices. The use of voice and the face as vehicles for certain states became irrevocably entwined with the danced act in Self-portrait camouflage (2006) and Loredreamsong (2010). Then, continuing her examination of the theme of archive, she created Écran somnambule and La part du rite (2012), based on German dance of the 20s. Pourvu qu’on ait l’ivresse (2016) is cosigned with the set designer Nadia Lauro. Since 2011, Latifa Laâbissi has been the Artistic Director of Extension Sauvage, an artistic and pedagogical program located in rural areas of Brittany. In 2016, a monographic book about her whole work is published at Les Laboratoires d’Aubervilliers and Les presses du réel. In 2018, she creates with Antonia Baehr, Consul & Meshie, a simian performance in a visual installation by Nadia Lauro. They also gather, in 2019, for the video Moving Backwards by the duo Pauline Boudry and Renate Lorenz, presented in the Swiss Pavilion of the 58th Venice Biennale. On Summer 2019, the Festival de Marseille welcomes the premières of her last creation, White Dog, a choreography for 4 performers.
Image : Ghost Party (detail), Manon de Boer & Latifa Laâbissi
The Frac Bretagne presents the first exhibition of the American artist Jibade-Khalil Huffman in France.
Jibade-Khalil Huffman (b. 1981, Detroit, MI) is an artist and writer who uses found, archival material, and contemporary ephemera to address slippage in memory and language, particular to race and visibility. Often working site-specifically, his work takes the form of installation, video, projections, photographic light boxes, and photo collages printed on layered transparencies and paper. Foregrounding the materiality of digital media and its degradation over time, Huffman’s approach dissolves explicit meaning in order to reconstitute it as objects in perpetual flux. Through projection and repetition, his work evokes the untranslatable, ruminating on the liminal qualities of singular experiences through the flattening of symbolic and semiotic hierarchies. Huffman derives much of his practice from the intersection of writing, poetry, found media and common speech, often cutting, sampling and shifting bits of video and excerpts of text into new formats. The idea of erasure—of certain voices, people, and ideas—as subject matter and as technique is central to his practice, in building up and removing layers of material in his videos and two dimensional collages.
Jibade-Khalil Huffman (1981, USA), lives and works in North Carolina.
Jibade-Khalil Huffman is graduated from Bard College in Annandale-on-Hudson, NY (BA, 2003), Brown University in Providence, RI (MFA, 2005) and the Roski School of Fine Arts at the University of Southern California in Los Angeles, CA (MFA, 2013). His work has been featured in solo exhibitions at MoMA (2021) and Magenta Plains (2020) in New York, the Cleveland Museum of Contemporary Art (2019) and the Ballroom Marfa Contemporary Art Center (2018).
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).