Frac Bretagne – Regional collections of contemporary art website2022-09-29T17:59:24+02:00
  • MEXICO. Mexico City. Olympic games. American athletes demonstrating against US race discrimination by clutching their fist. The american athlete Lee EVANS, winner of the 400 m in 43,86 sec. 1968.

Les Jeux Olympiques 1964-1980

Raymond Depardon
Frac Bretagne, Rennes


In 165 photographs, renowned French photojournalist Raymond Depardon retraces the 6 Olympics he covered between 1964 and 1980.


See also

Son œil dans ma main
Algérie 1961 & 2019


Logo Les Champs libres


With the support of





Les Jeux Olympiques 1964-1980

In the summer of 2024, as part of Rennes’ Exporama contemporary art season and the Paris Olympic Games, the Frac Bretagne is presenting an exclusive exhibition entitled “Les JO de Raymond Depardon“.

In 165 photographs, the famous French photojournalist Raymond Depardon retraces the 6 Olympics he covered between 1964 and 1980.

In 1964, Raymond Depardon had been working as a photojournalist for the Dalmas agency for four years. He was sent to Tokyo to cover the Summer Olympics and thus took his first steps as a sports photographer. It was a winning move, as he ended up working for 6 Olympiads, until the Moscow Games in 1980.

During these events, the famous photographer learnt that, to capture the beauty of the moment, you have to be ahead of it.

This is how he managed to capture the feat, the strength and the extreme emotion: the despair of Michel Jazy after his defeat in the 5,000 m event in Tokyo (1964), the dazzling joy of Colette Besson winning the 400 m in Mexico City (1968), the legendary Olympic hat-trick of Jean-Claude Killy in Grenoble (1968), the grace and perfection of Romanian gymnast Nadia Comaneci in Montreal (1976)… images now engraved in the history of sport.

But Raymond Depardon, driven by his expertise as a journalist, also captured other moments, historic events that went far beyond the field of sport: in 1968, he immortalised the raised fist of African-American athletes in Mexico City, then in 1972, during the Munich Olympic Games, he witnessed the Israeli delegation being taken hostage. Stadium and history, culture and sport.


1964 Summer Olympics in Tokyo

20 years after the end of the Second World War and its dramatic aftermath in Hiroshima and Nagasaki, Japan opened up to the world by hosting the Olympic Games.

1968 Grenoble Winter Olympics

The first Winter Olympics organised by France, inaugurated by General de Gaulle and featuring the young skier Jean-Claude Killy.

1968 Summer Olympics in Mexico City

The raised fists of the African-American athletes on the podium will forever remain the image of the fight for civil rights.

1972 Summer Olympics in Munich

These Olympics were sadly marked by the hostage-taking of Israeli delegation by the armed Palestinian revolutionary group Black September.

1976 Summer Olympics in Montreal

The young Romanian gymnast Nadia Comaneci achieved the highest score 7 times.

1980 Summer Olympics in Moscow

The Olympics were boycotted by a number of countries in reaction to the Soviet invasion of Afghanistan


French photographer, film-maker, journalist and screenwriter Raymond Depardon was born on 6 July 1942 in Villefranche-sur-Saône.

He moved to Paris in 1958, then joined the Dalmas agency in 1960 as a journalist. In 1966, he co-founded the Gamma agency.

Alongside his career as a photographer, Raymond Depardon began making documentaries in 1963, notably on politics, with a 1974 documentary on Valéry Giscard d’Estaing’s election campaign, which was banned by the President. Since then, he has made a number of films, taking his humanist approach to places as diverse as Chad, a psychiatric asylum, an emergency room, a courthouse or the farming community.

In 1978, Raymond Depardon joined the Magnum photo agency and continued his reportage work until the publication of Notes in 1979 and Correspondance New yorkaise in 1981. In 1984, he took part in a photographic mission for the DATAR, whose aim was to “represent the French landscape of the 1980s”.

While pursuing his film career, he was awarded the Grand Prix National de la Photographie in 1991.

His films also gained recognition: in 1995, Flagrants Délits, about the French justice system, won the César Prize for best documentary, and in 1998, he began his trilogy Profils paysans, devoted to the French rural world.

One of the characteristic features of his photographic work is his assertion of the photographer’s subjectivity.

« Sport is perhaps the speciality that best teaches us best how to ‘see’ well. A sports photographer is equipped to venture onto any other field. In the Olympic stadiums surroundings, I had the impression of becoming an athlete myself. Before a big race or competition, I stopped eating, drinking and talking. For a champion, it’s a year of preparation for a performance. For me, it was half a day waiting for a photo. » Quote by Raymond Depardon.

In partnership with


Visuel bandeau : Raymond Depardon, Un athlète afro-américain lève le poing en symbole de la lutte contre la discrimination raciale aux États-Unis. Mexico, Mexique, 1968 (détail) © Raymond Depardon/Magnum Photos

  • Visuel : Bruno Peinado, Sans titre, une figure embarquée 2013, collection Frac Bretagne © Adagp, Paris | Crédit photo : Marcel Dinahet

Arpenter le monde

Group Show
22.06 - 22.09.2024
Les Ateliers des Capucins, Brest


Arpenter le monde (Exploring the world)

On the occasion of the celebration of its 40th anniversary, Frac Bretagne settles down at the Ateliers des Capucins this summer. Founded in 1981, Frac Bretagne has built a collection of contemporary art recognized nationally and internationally. Often unknown to the general public, it nevertheless gathers more than 5,500 works by more than 1,500 artists of more than 125 nationalities. This collection is a magnificent heritage owned by the Bretons.

The exhibition offered to the Brest public plays with the identity of this emblematic place that are the Ateliers des Capucins, both a historic industrial site of the Cité du Ponant, a cultural space, a playground, a platform for meetings and experiences and balcony overlooking the sea.

Arpenter le monde brings together works by a dozen artists of all origins and generations. Whether drawing, sculpture, film, painting or photography, each of their works evokes in their own way and in very different artistic languages travel, wandering, dreamed horizons. Bigoudènes from historic Brittany, a strange lying tree, a Trojan horse, an unusual trip to the Mediterranean, so many experiences that invite you to a dreamlike journey through this magical place in Brest.

A partnership between Frac Bretagne and Les Ateliers des Capucins, Brest.

Works by Gilles Aillaud, Basma Alsharif, Geneviève Asse, Aurore Bagarry, Jean-Yves Brélivet, Jean Degottex, Anita Gauran, Cinthia Marcelle/Tiago Mata Machado, Bruno Peinado, Seton Smith, Eric Tabuchi/Nelly Monnier, Michel Thersiquel, Vasantha Yogananthan

Image: Bruno Peinado, Sans titre, une figure embarquée, 2013, Frac Bretagne collection © Adagp, Paris | Crédit photo : Marcel Dinahet

  • Pınar Öğrenci, Aşit (The Avalanche), 2022 (détail/capture), collection Frac Bretagne © Pınar Öğrenci

Aşit (The Avalanche)

Pınar Öğrenci
Frac Bretagne, Rennes


Pınar Öğrenci

Aşît (The Avalanche)

For her film Aşît (The Avalanche), made for the fifteenth edition of Documenta in Kassel in 2022, the artist returned to her father’s birthplace town, Müküs, an unspoilt spot in a mountainous region south of Van. On the Turkish-Iranian border, this former capital of Urartian civilisation and the Armenian Vaspuragan dynasty is now home to an urban population made up mainly of Kurdish communities.

Meaning avalanche and disaster in Kurdish, the word Aşît refers both to the climatic threat that sometimes disconnects this mountain village from the rest of the world and to ‘Meds Yeghern’ (The Great Disaster), the Armenian genocide of 1915, a tragic event that is still contested by the Turkish state.

Through oral histories, photographic archives and images captured in the region, filmmaker Pinar Öğrenci reveals the traces and traumas left by the Armenian people in the landscape, customs and memories. She recounts the daily survival strategies of the people of Müküs under pressure from the State and religion.

The film was also inspired by Stefan Zweig’s last short story, The Chess Player (1941) – a psychological thriller in which chess plays the role of a survival mechanism in the face of fascism.

Her interest in Müküs, she says, ‘is not only because it’s [her] father’s home town, but also because this village has been blessed by long years of self-imposed isolation; like a river that feeds itself, that remains unpolluted and clear… It’s an environment of non-conflict favoured by its geographical isolation, an oasis where unbridled capitalism and the state apparatus entered too late. In other words: a time machine, protected by the mountains. But this machine can also be seen as a kind of prison, the same one that Stefan Sweig talks about in his story’.

The filmmaker has chosen the songs of Hayrik Muradian, an Armenian musician who had to flee Van in 1918, to sublimate the impressive landscape of tranquillity that protects the village of Müküs.


Artist and filmmaker Pınar Öğrenci (1973, Van, Turkey) lives and works in Berlin.

Displacement, migration, survival, and resistance are cornerstones of Pınar Öğrenci’s films and installations. Driving her works are difficult, everyday struggles: the stories she hears, observes, experiences, collects, and documents from different geographies. In earlier works, Öğrenci followed the rarely-spoken stories of migrating communities around the Mediterranean, the Aegean, and in Berlin. Her works are decolonial and feminist readings from the intersections of social, political and anthropological research, everyday practices, and human stories that follow agents of forced migration.

Image : Pınar Öğrenci, Aşit (The Avalanche), 2022 (détail/capture), collection Frac Bretagne
© Pınar Öğrenci – Courtesy of the artist

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