Une traversée photographique en Bretagne
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….
Image : Logo par Loriane Panel © Une traversée photographique
ULTRA by TNHCH
ULTRA by TNHCH
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
TNHCH
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.
Image : Le Mur du Fonds, ULTRA by TNHCH © Frac Bretagne. Photo credit : Aurélien Mole
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 : View of the North gallery, 2021, Frac Bretagne, Rennes. Photo credit : Frac Bretagne
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.