Stéphane Dafflon, Bady Dalloul, Libor David, Richard Davies, Jean Daviot, Lieven de Boeck, Hubert de Chalvron, Harald Thys & Jos De Gruyter, Jean-Charles de Quillacq, Willem de Rooij, Herman De Vries, Olivier Debré, Philippe Decrauzat, Koenraad Dedobbeleer, Christine Deknuydt, Léo Delarue, Anne Deleporte, DenicolaI & Provoost, Marc Desgrandchamps, Angelica Detanico & Raphaël Lain, Fred Deux, Marc Devade, Livia Deville, Deyi Studio, Guillaume Dégé, Maurico Dias & Walter Riesweg, Philip Lorca di Corcia, Erik Dietman, Martin Disler, Thea Djordjadze, Jason Dodge, Florence Doléac, Kaye Donachie, David Douard, Martine Dubilé, Dunne & Raby / Michaël Anastassiades, Jérôme Dupin, Simon Dybbroe Moller
Works from the frac île-de-france collection
Curator : Xavier Franceschi
frac île-de-france, le château / Parc culturel de Rentilly – Michel Chartier
From 20th September 2019 to 22nd December 2019 the frac île-de-france is holding an exhibition with works from its collection at the Château de Rentilly (Parc culturel de Rentilly – Michel Chartier), where the selection of works is left purely to chance : a random draw, open to everyone via a plugin on the frac website, has taken place from Marsh 05 to Marsh 25, to choose a letter from the alphabet determining the artists to be exhibited. The ‘winning’ letter is ‘D‘ : all artists in the collection whose name begins with ‘D’ are part of the exhibition and all their works will systematically be exhibited*.
While this project is the first of its kind, it is consistent with the approach to the collection fostering experimentation – while at the same time respecting the works and artists involved – in particular through a both fun and conceptual approach.
Reflecting past exhibitions, whether at the Plateau or Château, along with historical exhibitions – from Surrealists, Fluxus to more recent proposals from Bertrand Lavier or Bob Nickas –, there is a predefined rule or protocol here that must be rigorously and religiously adhered to.
As a result, whereas the true stance of an exhibition is generally determined through the selection of works, in this exhibition a predetermined principle is set in motion leaving no room for any subjective choices. From another point of view it is something truly arbitrary, the rule that is defined largely governs the next steps…
Beyond this apparent paradox, the exhibition and this stance enable works to be exhibited and compared on a completely new level.
Detached from any pre-existing or predominant theme, they appear de facto in perfect autonomy. That’s the real objective: to introduce works from the collection in their integrity, for what they are, without any preconceptions or bias.