Past
Assisted by the frac’s public outreach team, a study group gathered by Les Arcades (Issy-les-Moulineaux Art School) explored the various stages in the making of a contemporary art exhibition, from choosing and staging the works to devising a programme of events and advertising.
With the works of Erica BAUM, Anne BREGEAUT, Stefan BRÜGGEMANN, Raymond HAINS, Teun HOCKS, Véronique JOUMARD, MRZYK & MORICEAU, Bruno MUNARI, Olaf NICOLAI et Joëlle TUERLINCKX.
Through his research into statactivism, Julien Prévieux questions the predominant role of quantified data in daily life, with the aim of undermining their original function and finding new usages for them. He occupies the frac’s window display with some new diagrams which reproduce the gazes’ movements of some participants facing Quality Street, the previous window display by Nicolas Chardon.
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The frac île-de-france announces the release of two new publications that document two artist’s projects (with Denicolai & Provoost in 2011, and with Julien Prévieux en 2013) as part of its programme of public events.
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The frac île-de-france is presenting the first solo exhibition in France by Haris Epaminonda at le plateau. The work of the Cyprus-born artist, who currently lives and works in Berlin, comprises films, sculptures and installations that incorporate images and objects borrowed from various origins and epochs, staging multiple encounters, while cultivating an explicit relationship with the past. Pages of old books, vases or statuettes are put into relation through visual associations that form a fictional space.
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My First Summer in the Sierra is freely inspired by the book self-title written by the American naturalist John Muir (1838-1914), and brings together some thirty works from the CNAP collection, clearly promote the idea of nature and the link between man and his environment.
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For L’Homme aux cent yeux (revue), Felicia Atkinson plays an half improvised, half-composed version of her last opus, A Readymade Ceremony, that she considers a sort of rebirth at all levels of creation, especially musical, but also plastic, literary and, more broadly, poetic and political.
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L’art dans tous ses états
Whether they symbolise original Chaos, are considered figures of evil, or treated as subjects of research, monsters are timeless. According to Yvanne Chenouf, psychoanalysis and Surrealism in the 20th century led monsters to gradually creep into the individual… Has the man of the 20th century become a monster?
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Frac île-de-france is launching a new review: L’Homme aux cent yeux. This new review – in a nod to its glorious ancestors of the 30s and to the spirit of the Music Hall – proposes an annual programme of live interventions, open to all kinds of artistic creation (acoustic, filmic, choreographic, etc.), by artists invited to occupy the exhibition spaces.
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The works from the frac collection gathered in the display are all clues that remind us of the importance of language in contemporary art. By playing on letters, words, their…
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“Use the forms to pave a path that’ll lead us from the – tensed – space of art to the open, or perhaps freer, street.” Quality Street is Nicolas Chardon’s new project for the Window Display.
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