Expositions


Corita Kent

Corita Kent

dans le cadre de "À Cris Ouverts" – 6e édition des Ateliers de Rennes - biennale d’art contemporain

15.09.2018 – 05.01
2019

  • In 1962, Sister Mary Corita Kent, a nun at the Convent of the Immaculate Heart of Mary in Los Angeles, went to the Ferus Gallery to see the famous show where Andy Warhol adopted silkscreen printing with his Campbell’s Soup series. As an artist, woman, teacher and nun, Corita could not be pigeonholed. Her silkscreen works showed a celebratory approach to consumer society, running counter to Pop art. 1962 was also the year for a great movement of  openness espoused by the Church with regard to contemporary culture. In that context of emancipation, Corita appropriated the language of advertising and let color and words enjoy an explosion of freedom. Slogans, lyrics, biblical verses and authors’ quotations were all freely committed to paper in an engaged re-contextualization, indissociable from her faith, conveying values of tolerance as well as resistance to inequalities

     

    Courtesy of the Corita Art Center, Immaculate Heart Community, Los Angeles, CA





    Morgan Courtois

    Morgan Courtois

    Commissaire de l'exposition : Franck Balland

    02.06.2018 – 18.08
    2018

  • Essentially a sculptor, even if at times his research leads him to work with images, Morgan Courtois explained in a recent interview that he quickly wished to express the “potential or the pathetic part of materials” through his work. His use of plaster, clay and resin is frequently affected by disturbances which not only alter the stability of his objects, but also give them an ambiguous status, blurring the boundary between the inert and the living. Inspired not only by the rhythm but also the functional properties of flowers, the artist – who previously worked as a gardener – also creates perfumes whose compositions evoke the poetic connections of materials, events and sensations.

    The exhibition “It’s All Tied Up in a Rainbow” which takes its title from the song “Beautiful Land,” performed by Nina Simone in 1965, brings together a collection of new works including photographs of public spaces and sculptures of male nudes whose poses recall both private moments and scenes of art history. The colorful spectrum evoked by the title is revealed in a new series of resin paintings framing the central display. Morgan Courtois, who readily qualifies his practice as a naturalist, explores here an affective geography of representations, influenced not only by art history but also a social history of forms.

     

     

     

    [1] Entretien avec Line Ajan publié sur www.figurefigure.fr, mars 2018





    Deux sens du décoratif

    Jean-Marie Apriou, Ines Doujak, Than Hussein Clark, Thomas Jeppe, Anna Solal

    Commissaire de l'exposition : Michal Novotný

    02.06.2018 – 18.08
    2018

  • The word decorative has two meanings, either generally embellishing, or more exactly ornamental.

    Even though we can consider major part of art history as decorative, speaking nowadays about decorative in relation to fine art, often means a pejorative judgment in regard to some way of cheap attractiveness without complexity, taste and content.

    Certain unspoken preconditions constructed in 20th century on which contemporary art still stands, share striking similarities with the roots of modern science. Art asks for the ever proclaimed independence, from market, public and politics, and the consideration of quality that is supposed to be only based on the expert view of its own ever-expanding field. This formerly liberating conditions progressively constituted an entire ideology of art, that rather than reflecting and stimulating art research, precedes it, shapes it and justifies it. In the very same manner as is the notion of the neutral form so closely linked to conceptual art, or the purity of form that serves as the firm ground for all reductive strategies since the early abstraction, this two as many other ideologies controls how art looks and is being judged and perceived.
    What connects all those ideologies as a rooting axiom is nonetheless not the idea of art as rational logical activity, although it is one of the most important ones. As even its negations such as the “irrational” art brut can only exist in relation to the rationally build art history lineage, similarly to all the other binary oppositions, the inexhaustible source of rapidly accelerating movement between low and high, old and new. It is rather the general notion of good and bad art, art whose quality is not shaped by the dialectical materialism of supporting infrastructures, means of circulation and commodification, but quality that somehow transcendentally emanates from its very core. This once more resembles so closely the idea of objective truth, that the enlightenment science uninfluenced by political or economical means was experimentally supposed to discover in a laboratory, so similar to the modern exhibition space.

    Nonetheless the aim of this exhibition is not to insert the decorative back into the fine art. That have been already happening many times in recurrent fashions and only served to confirm the above mentioned logic, a never ending cycle in which refusing is in consequence equal to accepting. The aim is rather to pull down the fine art back to the point of the decorative, against which it in pretence positioned itself, but on which level, as a product only allowed by the existence of different interests, it had ever remained.

    Decorative in both of its senses is therefore used here as a metaphor of an attack on the proclaimed autonomy of work of art, autonomy completely constructed by supporting ideologies.

    The decorative from its very notion doesn’t embellish itself, but something else. Instead of separating itself, it is capable to perform in different contexts and functions. It doesn’t hide its serving status, the different ways of utility that allows it to exist. It doesn’t aim for some sort of independent truth, but much the same as theatre, it creates a confessed lie or rather – assumed illusion, that should nevertheless not be mistaken for relativist free interpretation.

    The ornamental consequently operates in gathering different elements into a larger whole. Ornamental structure is not supposedly invisible support for its parts, but creates aesthetic balance that allows us to switch between the part and the whole. Ornamental is capable of abstraction within figuration, is not scared to manipulate openly but with regard to overall meaning. Thus it once more overcomes the divide in quest for imagined purity and/or totality. In this way it also rejoins content and form, so many times in different hierarchical combinations divided.

    Although some of the participating artists deals with something that can be considered decorative or ornamental by the plain sight, what deeply connects the works and artist in this exhibition is the effort to deconstruct the axioms and normatives that had been set in quest for liberation, but ended in oppression.

    Decorative in this sense means not being scared of being used, or rather utilised, however not necessarily with the accent on any practical or functional dimension, that would once more constitute the rift between fine and minor arts and other hierarchies based on quality of relation. Consequently ornament as away of ordering does not constitute an ideology that is qualitatively better than the ones based on interpretation and classification, only it does not pretend to reach some sort of invisible core of things, but openly emphasize its framework operating via its own logic of intensity, rhythm and repetition.





    Razvan Boar

    DEMO FLASH

    02.02.2019 – 27.04
    2019

  • In a critical and ironic relationship to the gesture, the paintings by the Romanian artist Razvan Boar play upon a back-and-forth between pop figuration related to comic books and gestural abstraction in the pure tradition of pictorial heroism. In getting the rapid expression of drawing just right, he finds a prerequisite and essential condition for the emergence of the painted image. And yet, he stops there. His figures seem to remain suspended, wedged somewhere between potentiality and completeness. It is as if the sketch has resolved the equation and it was now up to us, the viewers, to continue the adventure.

    There is always someone inhabiting his images: a shadow of the artist, the artist as the artwork, perhaps the artist as process. This sketched character is constantly evolving: his nose becomes a pointing finger, signifying who knows what. The same nose becomes a phallus emerging from the painted surface. His hair suddenly depicts his own thoughts, taking on the form of his desires – a nude feminine silhouette caressing his forehead and brain.

    And among the paintings and works on paper, the artist attempts a work in volume made with bundles of over-sized matches with purple heads, ready to set the art center on fire.

    In a critical and ironic relationship to the gesture, the paintings by the Romanian artist Razvan Boar play upon a back-and-forth between pop figuration related to comic books and gestural abstraction in the pure tradition of pictorial heroism. In getting the rapid expression of drawing just right, he finds a prerequisite and essential condition for the emergence of the painted image. And yet, he stops there. His figures seem to remain suspended, wedged somewhere between potentiality and completeness. It is as if the sketch has resolved the equation and it was now up to us, the viewers, to continue the adventure.

    There is always someone inhabiting his images: a shadow of the artist, the artist as the artwork, perhaps the artist as process. This sketched character is constantly evolving: his nose becomes a pointing finger, signifying who knows what. The same nose becomes a phallus emerging from the painted surface. His hair suddenly depicts his own thoughts, taking on the form of his desires – a nude feminine silhouette caressing his forehead and brain.

    And among the paintings and works on paper, the artist attempts a work in volume made with bundles of over-sized matches with purple heads, ready to set the art center on fire.

     

    Manifestation organisée dans le cadre de la Saison France-Roumanie 2019





    Lenio Kaklea

    ENCYCLOPEDIE PRATIQUE

    02.02.2019 – 27.04
    2019

  • “I’ve never had any choreographic ideas, but I think as I rehearse. Dance is a situated practice that allow for a combinaison of several bodies. It involves routine activities that lead to familiarity with materials, articulates different ways of moving in the world and allows for the invention of deviations, shortcuts or detours. In the studio, the body exercises, incorporates techniques, transforms itself, learns to look at itself, to run away or to disappear. »

    From January to September 2017, choreographer Lenio Kaklea met the residents of Aubervilliers to collect their practices. She gathered 300 testimonies through her investigation revealing the diversity of habits, rituals and professions that compose this Parisian suburban city. The transcription of these testimonies took the form of six choreographic portraits that show the convergence between her own body language and the practitioners’.

    In the film 41 rue Lécuyer, she presents her studio practice in which several intensities and modes of representation coexist : rehearsal, performance, conversation. It re-examines the influence of the survey process on the creative work, the solo’s form appears as an experience of otherness in which the familiar and the alien dialogue.

    For Dansfabrik festival, the choreographer, along with three performers, proposes an in situ version of this piece. 41 rue Charles Berthelot is part of a new choreographic project that investigates the modes of transmission and migration of the gestures we make community with.

     

    En partenariat avec Le Quartz, Scène nationale de Brest
    Dans le cadre du festival DañsFabrik 2019

    Crédits film
    Chorégraphie, film et interprétation : Lenio Kaklea avec la participation de Maryse Emel
    Image et montage : Jérôme Javelle
    Son : Éric Yvelin
    Collaboration artistique : Lou Forster
    Costumes et accessoires : Sotiris Vasiliou
    Coordination : Pierre Simon
    Production et diffusion : Teresa Acevedo
    Monitoring : Agnès Henry – extrapole
    Production : abd
    Co-production : Le Quartz/Scène Nationale de Brest, Passerelle Centre d’art contemporain.
    Avec le soutien de Laboratoires d’Aubervilliers.

    Crédits activation
    Concept et chorégraphie : Lenio Kaklea
    Interprétation : Jessica Batut, Nanyadji Ka-Gara, Lenio Kaklea et Elisa Yvelin
    Son : Éric Yvelin
    Costumes et accessoires : Lenio Kaklea
    Production et diffusion : Teresa Acevedo
    Monitoring : Agnès Henry – extrapole
    Production : abd
    Co-production : Le Quartz/Scène Nationale de Brest, Passerelle Centre d’art contemporain, PACT Zollverein/Essen, Far° Festival des arts vivants/Nyon, Traversées/Poitiers, Festival À Domicile, Centre national de la danse.





    Louidgi Beltrame

    Louidgi Beltrame

    15.09.2018 – 05.01
    2019

  • Louidgi Beltrame’s project Mesa curandera, continues his exploration of methods of human organization throughout contemporary history. In this way, his research in film has brought him to heavily charged locations such as Hiroshima, Chandigarh or even Brasilia. Today, it is the magical rites of healers on the Peruvian desert coast that interest the artist.
In 2015, he met the curandero José Levis Picon Saguma whose work inscribes itself in the continuity of Pre-Columbian healing rituals. His practice of curandero, a term which signifies “healer” in Spanish, can be included in the larger category of shamanism. During healing ceremonies, known as mesas, José Levis practices this form of vernacular medicine nearly in secret, in areas on the outskirts of towns. His most important plant is the San Pedro, a psychoactive cactus whose earliest ritual use goes back some 3000 years.

    The practice of the curanderos interests Louidgi Beltrame above all as a form of post-colonial resistance. Its characteristic syncretism can be seen as an adaptive camouflage developed by the Andean population in order to survive first the Inquisition and then colonial repression. The current form of this traditional medicine is characterized by successive cultural influences that have been present in the Andean territory. Highlighting in this way the persistence of Pre-Hispanic elements related to shamanistic practices which are particularly based on the use of psychotropic plants.

    In order to film these ceremonies without compromising their unfolding, Louidgi Beltrame had his camera outfitted with a specially designed infrared lens. Unlike the aesthetic of used by surveillance cameras, the pinkish hues seen here accentuate the immersive dimension of the film. The image seems strangely natural, even if we observe that the participants do not completely occupy the space in the darkness that remains abstract for the viewer.

     

    Ce projet a été sélectionné par la commission mécénat de la Fondation Nationale des Arts Graphiques et Plastiques qui lui a apporté son soutien.

    Lauréat du programme “hors les murs” de l’Institut français





    Laure Mathieu

    Laure Mathieu

    Dans le cadre des Chantiers-Résidence
    en partenariat avec Documents d'Artistes Bretagne

    02.06.2018 – 18.08
    2018

  • Laure Mathieu’s title for her solo show in Brest invites you to travel. It evokes a fleet on the ocean nerby. One would be happy to poetically embark on a three-master and set sail for some exotic destination.

    But actually, “La flotte bleue” refers to a group of aquatic species which evolves between sea and air, like a border or a filter. From their Latin names “velella velella”, “physalia phisalys” or “janthina janthina”, these little blue organisms, barely visible, float on the surface of the oceans and wander with the winds.

    For the young French artist, they are as much a decor as a poetic and methodological metaphor for her project. The whole project deals with visibility (and, indeed, about invisibility) and dissemination.

    Pursuing her practice of writing and fiction, the artist has chosen to address a series of anonymous letters to different persons in Brest : elected officials, laundresses, the art center’s visitors, etc. She envisions the dissemination of these letters in the urban and social space on different media as unexpected as a tram ticket or printed clothes. The letters travel in the city as the daily commute of Passerelle’s employees. Can they be read by the people of Brest? Maybe, maybe not. Still, they inhabit the city.

    Their content is all about fiction or rewritten histories. Laure Mathieu refers, for instance, to Hollywood blockbuster The Conquerors (1956) by Dick Powell whose outdoor scenes were shot near US Army nuclear test sites in the Utah desert. Exposed to sandstorms laden with radioactive particles, several members of the team, including star John Wayne, were highly contaminated until they developed cancer. History of dissemination and invisibility, always.





    Alisson Schmitt

    KARMAMOUSSE

    02.02.2019 – 27.04
    2019

  • Alisson Schmitt solo exhibition’s title sounds like the brand name of one of these Ayurvedic carpets you can shop at Nature & Découvertes.

    Playing with marketing methods and strategies, the young artist sets the scene for a new situation at the heart of her practice, which for several years has problematized, used and abused the codes of what is commonly referred to as “the well-being market”.

    Karmamousse at Passerelle Centre d’art contemporain is somehow a fusion (in the culinary sense of the term) of two iconic fields of the new age consumerist universe – Hatha Yoga (very popular in the Western world more for its physical virtues than for its spiritual ones) and the Tarot de Marseille (or more precisely its major arcanas) – chosen above all for their philosophical and practical qualities.

    The artist invites us as participants to a scenario she made up. The exhibition becomes a space to play and practice where the Tarot de Marseille arcanas take place on yoga mats (well, not all of them, only those traditionally wearing leggings), where is screened a docu-drama featuring the Temperance, the Devil and a dancer who lived in India. All that in the throbbing light of the flames.

    En partenariat avec Documents d’Artistes Bretagne
    Dans le cadre des Chantiers-Résidence





    Alexandre Lavet

    Alexandre Lavet

    commissariat : In extenso, Clermont-Ferrand

    15.09.2018 – 05.01
    2019

  • Alexandre Lavet’s work operates in total discretion. It avoids spectacular and decorative effects, in contrast to habitual overwrought artistic production. He endeavors to make artworks that simulate the objects and other accessories that are usually present in exhibition spaces, but which we rarely really notice. Fundamentally sober and chameleon-like, his sculptures, paintings, drawings and interventions, or even his sound pieces adapt themselves to the characteristics of the space in which they act.

    At the Passerelle Contemporary Art Center, Everyday, I don’t offers a seemingly empty space in which the artist stages a possible narrative for the exhibition space; a space that is waiting between installation and deinstallation. The negative impulse of the title could indeed indicate the artist’s decision to do nothing at all, which would explain this state of latent abandon. Alexandre Lavet invites us in the form of a paradox, to ask ourselves about the concept of artistic work, which is often imperceptible and difficultly quantifiable. Dispersed and fading into their environment, the artworks deploy a presence via absence, which spares us from the effect of an artwork that is too physical and voluminous and which imposes itself upon us and which demands of us a state of passivity in the face of its very existence. The artist in this way engages the visitor to make an effort to seek, to question the status of the exhibition and of the work of art, in the standardized context of exhibition spaces at the moment of a spectacular and consumerist turning point in culture.

     

    Dans le cadre de l’aide à la création Clermont-Auvergne-Métropole





    Virginie Barré, Romain Bobichon & Julien Gorgeart

    LA CASCADEURE

    02.02.2019 – 27.04
    2019

  • La cascadeure (The Lady Tumbler) is a six part original series created by three artists.

    La cascadeure is a visual object with cinematographic outlines, in which we find the technical organization used for film sets and shorts, while of course in this case the entire crew and the majority of the actors are artists.

    During the entire production of the series, the artists who make the crew took on several roles. For example, Bruno Peinado plays a role in it and composed the sound track. Pierre Budget produced the animation for the credits and is also the sound technician as well as an actor. As in the case of the technical team, the actors in the series also find themselves in front of the camera.

    In parallel to this artistic composition, in each episode Virginie Barré, Romain Bobichon and Julien Gorgeart invited an artist or a duo of artists to add color to the episodes with their artistic vision : The production of objects, set fabrication, proposing scenes, choreography, mises en scène. The artists who collaborated on this project are Florence Doléac, Camille Girard and Paul Brunet, Olivier Nottelet, Lili Reynaud-Dewar, Yoan Sorin.

    The series explores themes of shifting frontiers and parallel worlds. Starting from an anonymous geography, the narrative of La cascadeure, slips little by little into a paranormal world, submerging bit by bit the viewer in a poetic universe of science fiction.

    Production : 36secondes / Patrice Goasduff

    Avec le soutien de la Région Bretagne (en partenariat avec le CNC) et du centre d’art 40mcube, Rennes

    Avec la participation de Passerelle Centre d’art contemporain, Brest, d’Ars Ultima – Stein & Guillot Art Foundation, mécène et du Frac Bretagne et l’aide de L’École Européenne Supérieure d’Art de Bretagne – Site de Quimper

    Auteur scénario : Virginie Barré, Romain Bobichon, Julien Gorgeart
    Artistes invité.es : Camille Girard et Paul Brunet, Yoan Sorin, Florence Doléac, Lili Reynaud Dewar, Olivier Nottellet
    Interprètes : Marie L’Hours, Mireille Armande Rias, Bruno Peinado, Yoan Sorin, Florence Doléac, Joséphine Peinado Baré, Simone Peinado Barré, Sasha Goasduff Langlois
    Image : Julien Gorgeart
    Assistantes réalisation : Julie Bonnaud, Sarah Heussaf
    Montage : Julien Gorgeart
    Son : Pierre Budet
    Script : Julie Bonnaud
    Lumière : Thomas Delahaye
    Musique : Bruno Peinado
    Décors : Coralie Goncalves, Virginie Barré
    Catering : Morgane Besnard
    Atelier de fabrication des décors : Studio B&P





    Katia Kameli

    Katia Kameli

    dans le cadre de "À Cris Ouverts" – 6e édition des Ateliers de Rennes - biennale d’art contemporain

    15.09.2018 – 05.01
    2019

  • Ya Rayi is a reflection on the evolution of raï, a popular Algerian music that embodied the need for expressing the difficult living conditions and taboos in Algeria. In Arabic, raï means ‘opinion’. Through its music and textual créolité (creolity), rai is mirroring Algerian culture. It is an underground genre which has changed and mixed codes from different existing repertoires to bypass social restrictions and make what is muted heard. It is a substitute for the lack of interactions between women and men, between older and younger generations in a society silenced by morality. Questioning rai from yesterday and today is opening a reflection on what is culturally and sociably at stake in Algeria but also in contemporary Muslim society.

    
The protagonist is a young man with a Walkman listening to rai tapes. He is wandering, stopping by in front of Disco Maghreb shop in Oran, the historical producer of cheb and cheba. In Paris, he is idling in Barbès neighbourhood, a crucial part in rai development in the 1990s. The faint faces of rai stars Cheb Hasni and Cheikha Rimiti which appear throughout the video on old buildings evoke another temporality. However, rai tapes are still an object of desire, sold and collected in very few shops known by regular visitors. Here, rai music is a ghost, a nostalgic memory, but passion is never far: rewind, press ‘play’ and it starts all over again.








  • Événements


    02.02.2018
    18:00
    20:30

    Exhibition’s opening

     

    FRÉDÉRIC TESCHNER

    VOCODER & CAMOUFLAGE de Jonathan Uliel Saldanha

    PERIPHERAL FEED d’Edouard Le Boulc’h

    DIRECTING THE REAL Artists’ film and video in the 2010s by Lo Schermo dell’Arte

    free entrance








  • Hors Les Murs


    Territoires Extra

  • Territoires Extra est un projet de développement artistique sur le territoire de la région Bretagne mené conjointement par les centres d’art contemporain La Criée à Rennes et Passerelle à Brest. Les deux centres d’art conjuguent leurs regards, leurs expertises et expériences pour accompagner les artistes dans la création et sa diffusion, dans un souci d’expérimentation, de professionnalisation, et de rencontre avec les publics.
    Territoires Extra émane du territoire régional : il sort des murs des centres d’art et se veut un laboratoire de création, de diffusion et de médiation en prise directe avec un tissu local qui manifeste un désir d’art. Territoires Extra est un projet à vocation nomade et s’implante où les collaborations et partenariats sont possibles. Les projets artistiques se développent dans une perspective de co-construction avec les partenaires et prennent en compte à la fois l’écosystème artistique et les spécificités locales.

    Territoires Extra a comme triple objectif de :
    – soutenir l’émergence artistique en Bretagne par la production et la diffusion ;
    – construire un projet artistique en prise avec les acteurs territoriaux bretons ;
    – inscrire l’émergence artistique dans une dynamique internationale.

    S’appuyant sur l’inscription de La Criée et de Passerelle au sein de réseaux européens et internationaux les projets développés sur le territoire breton trouveront par ailleurs un prolongement à l’échelle internationale, permettant ainsi à des artistes bretons de mener un projet à l’étranger et affirmant l’importance et l’intérêt de travailler à différentes échelles de territoires, du local à l’international.
    Un travail de médiation spécifique accompagne le projet tout au long de son développement, afin de renforcer le lien et le dialogue entre publics, partenaires locaux, institutions et projets artistiques, dans un souci de transmission et de sensibilisation autour de la présence des artistes dans le territoire.

    Les projets s’inscrivent dans des zones éloignées de l’offre culturelle : à la Galerie du Dourven (Lannion-Trégor communauté), en partenariat avec le Festival de l’Estran et piloté par Passerelle, avec les artistes Yoan Sorin, Colomba Marcasiano, Dana Michel et Florian Sumi ; ainsi qu’à Léhon-Dinan dans les Côtes d’Armor en partenariat avec les Ateliers du Plessix-Madeuc et piloté par La Criée, avec l’artiste Flora Moscovici.

    Le projet Territoires Extra est soutenu par la DRAC Bretagne.

     

    TERRITOIRES EXTRA – COTE DE GRANIT ROSE

    Le second volet du projet Territoires Extra porté en 2017 et 2018 par Passerelle centre d’art contemporain à Brest se déroulera sur la « côte de granit rose » sur le territoire de Lannion-Trégor Communauté et prendra appui sur le Festival de l’Estran.
    Le projet se développe autour de 3 axes :

    1) une résidence de recherche et de création à la Galerie du Dourven du 1er au 24.07.2018.
    Durant trois semaines, un groupe d’artistes (Yoan Sorin, Colomba Marcasiano, Dana Michel et Florian Sum) concevra des œuvres à destination du Festival de l’Estran. Le développement de leur projet fera l’objet de restitutions et de temps de partage avec les publics de proximité pendant le temps de la résidence.

    2) une présentation des œuvres produites en résidence et d’œuvres existantes dans le cadre du Festival de l’Estran.
    Inscrite dans le parcours du Festival, les œuvres conçues en résidence par l’artiste Colombe Marcasiano ainsi qu’une installation de l’artiste Benoît-Marie Moriceau qui seront activées.

    3) Un accompagnement ludique des publics du Festival de l’Estran (22-23 Septembre 2018).
    Conçu et animé par le service des publics de Passerelle Centre d’art contemporain, un dispositif ludique de découverte et d’observation du paysage sera proposé aux publics pendant les deux jours du Festival. Il prendra appui sur les expériences déjà menées dans le cadre de la Fabrique Citoyenne et Poétique des Capucins à Brest.

    FESTIVAL DE L’ESTRAN
    22-23 SEPTEMBRE 2018
    Avec : Colombe Maracsiano, Benoît-Marie Moriceau et ateliers des publics (Passerelle)
     
    Colombe Marcasiano
    Colombe Marcasiano présentera une œuvre conçue pendant la résidence à la Galerie du Dourven dans le cadre du le Festival de l’Estran. L’œuvre sera le résultat de sa recherche personnelle mais aussi du travail collaboratif avec les autres artistes.
     
    Benoît-Marie Moriceau
    Pour le festival de l’Estran, Benoît-Marie Moriceau souhaite mettre à profit la dimension imaginaire de l’ile de l’Avat, en déployant cinq signaux lumineux dont le déclenchement est programmé de façon aléatoire et visible de jour comme de nuit, depuis le littoral. Les sources lumineuses sont suffisamment puissantes pour être perceptibles en plein jour. Les dispositifs génèrent une suite de scintillements à la fois intenses et furtifs qui génèrent un réseau lumineux dynamique et aléatoire. La lumière est vraiment visible, mais si fugace, qu’elle met à l’épreuve la persistance rétinienne de l’observateur.

    Cette intervention abstraite et fantasmagorique fait écho à une installation plus vaste qui sera visible dans l’espace public de Rennes pendant sept mois. La coexistence de ces deux installations dans des contextes et formats très différents (paysage littoral et paysage urbain) permet à l’artiste d’expérimenter différents principes d’apparition de l’œuvre et de proposer une double expérience artistique dans l’espace et le temps. L’installation de Benoit-Marie Moriceau constitue une poursuite du projet initié par l’artiste dans l’espace urbain rennais. 
    Il est produit dans le cadre de l’exposition “The Relative Size of Things & the Vertigo of the Infinite” présentée aux Champs Libres à Rennes du 15 juin au 4 novembre 2018 dont le commissariat est assuré par 40mcube.

    Atelier des publics de Passerelle Centre d’art contemporain au festival de l’Estran
    Conçu et animé par le service des publics de Passerelle Centre d’art contemporain, L’Atelier des Publics présente Les Dadascopes, un dispositif ludique de découverte et d’observation du paysage qui sera proposé au public pendant les deux jours du festival. Il prendra appui sur les expériences déjà menées dans le cadre de la Fabrique Citoyenne et Poétique des Capucins à Brest.

    Dans le cadre du Festival d’art de l’Estran, Les festivaliers seront invités à s’emparer des Dadascopes pour des temps d’explorations et de pratiques artistiques sur les plages. Cet ensemble d’objet sera réuni dans une structure en bois mobile, sorte de kiosque ou soucoupe roulante, autour de laquelle il fera bon se retrouver pour échanger sur les œuvres du festival.
    Samedi : Trégastel de 14h à 17h
    Dimanche : Trébeurden de 14h à 17h

     

    Porté par l’Office de Tourisme Communautaire de la Destination Bretagne – Côte de Granit Rose, le Festival de l’Estran est une Galerie d’art contemporain à ciel ouvert, des plages d’équinoxe comme écrin et la mer pour toile de fond, le Festival d’Art de l’Estran s’installe chaque année en septembre sur la Côte de Granit Rose. Le temps d’une grande marée, l’été indien invite les artistes à redessiner les plages de Trébeurden, Trégastel et de l’Ile Grande. De grève en estran, découvrez des escales artistiques, source d’étonnement, de rencontre et de dialogue entre visiteurs et créateurs. Une place importante y est également donnée à la création participative avec le public.

    http://www.festivaldelestran.com/





    La Fabrique des Capucins

  •  

    Le Fourneau Centre National des Arts de la Rue et de l’Espace Public et Passerelle Centre d’art contemporain ont été missionnés par Brest métropole aménagement pour le compte de la Métropole et la Ville de Brest pour concevoir, accompagner et animer une démarche artistique participative d’aménagement des espaces publics des Capucins.

    Trois années durant, à l’occasion de rendez-vous artistiques fédérateurs et d’ateliers réguliers au cœur de la Place des Machines du Plateau des Capucins, les citoyens sont invités à imaginer les mobiliers et leurs usages : s’asseoir, lire, travailler, jouer, observer la ville, pratiquer un sport… pour s’approprier ce nouveau territoire au cœur de ville.

     

    Retrouvez toutes les actualités du projet sur :
    www.lafabriquedescapucins.com

    Suivez-nous sur Facebook
    et sur la chaîne dédiée Vimeo

      

     

    Que faire pour rejoindre ce chantier collectif, citoyen et poétique ?

    Pour embarquer dans la suite de cette aventure artistique, inscrivez-vous en ligne dès aujourd’hui : vous serez ainsi tenu au courant de tous nos prochains rendez-vous !

     












    Publics


    Adult publics

    All year long, the education department offers mediation activities (guided tours, meetings, conferences) for adult, members or individuals, conceived as special moments of exchange, discussion about works or themes addressed in the exhibition. The works are at the heart of actions which intend the development of a critical and constructive thinking and sensitive and contextual reception.

    The guided tours of the exhibitions
    take place the first and third Satuday of the month, throughout the year.
    These guided tours are built as an exchange time with the visitor, in order to discover the current exhibitions. Collective guided tours are possible on booking, resuming the same form.

     

    Meetings with artists and the public
    are privileged moments in which the opportunity is given to the public and artists to speak. The artists present their work during assembly, during a special opening or at an appropriate time.

     

     

     

    Education
    Thibault Brébant
    T. +33(0)2 98 43 34 95
    publics@cac-passerelle.com

    « Glances crossed »
    Visitors are invited to compare two pieces of art of two Brest’s cultural centers.  These rendez-vous allow visitors to compare some various artistic proposals. Most of the time, these glances are centered on complementary themes. The « Regards croisés» are organized by Passerelle, Centre d’art contemporain, the Museum of Fine Arts of Brest, the Artothèque of the Museum of Fine Arts.

     

    The urban course
    runs from april to october, the last Saturday of the month. This guided tour is a walk in the city, around the Art Center. In the form of an exchange with the mediator, the participant discover other ways to perceive the urban spaces. The urban course ends in the Art Center, in front of one or several works of art, so that participants establish links between the urban course and the works of art. 





    Young publics

    All year long, the education department offers educational and fun activities to accompany 6 to 11 years children in experiencing the latest trends in art, develop new experiences and to learn the techniques of today.

    L’Atelier du Mercredi
    On wednesday from 14:00 p.m to 17:00, Visual Arts workshops take place in Passerelle Centre d’art contemporain. During these workshops, children (6-11 years) can discover different ways to install a exhibition, meet the artists  and improve their practice of Visual Arts while initiating to current techniques (paintings, pictures, scultpures, drawings, collages, moldings..).

     

    Les Petites Fabriques
    During school holidays, (except for Christmas holidays), Passerelle Centre d’art contemporain offers creative workshops for children (6-11 years) related to the exhibitions for four days.

    Education
    Thibault Brébant
    T. +33(0)2 98 43 34 95
    publics@cac-passerelle.com





    Educational program

  • From school to university, the art center designs different programs for the pupils to react on contemporary art’s issues. These programs can be developed with the teachers.

    Documentation for teachers
    Teachers can ask for a specific documentation written for their use about issues and themes encountered within the exhibitions. Available at the art center front desk, it presents various details, advices and a selective bibliography. This documentation can also be downloaded from here.

     

    Guided tours
    These tours are developed into dialogues between the pupils and Passerelle‘s team. The opportunity is given to youngest to react to art pieces: how to look at it, describe it, analyze it…

     

     

     

    Education
    Thibault Brébant
    T. +33(0)2 98 43 34 95
    publics@cac-passerelle.com

    Workshop-tours
    This workshop aims to extend the guided tour by appropriating the modes and artistic processes encountered within the exhibition. This workshop extends the concepts developed during the discovery of the body of work of various artists by practical applications, individual and collective work, and can be conducted with all school levels.





    Zones d’augmentation

    The “Zones d’augmentation” is our first educational interface deployed physically as well as on the website of the art center. At Passerelle Centre d’art contemporain, a dedicated convivial area where you can drink coffee while reading daily press and documentation about exhibitions. On this web page, you are welcomed to explore the various contents to prepare your visit to the art center or to pursue the experience.

    All art and documentary materials presented challenge the exhibition. Contents are discussed with the artists and can be built in partnership with art collections or libraries such as the Museum of Fine Arts in Brest, the City public library or Cinémathèque de Bretagne.

     

     








  • Les Chantiers


    Les Chantiers

    Les Chantiers

    Emerging artists support program in partnership with Documents d’Artistes Bretagne

    It’s often difficult for a young artist, following his graduation, to continue his practice without means, workspace and artistic or critical support.

    Passerelle Centre d’art contemporain and Documents d’Artistes Bretagne put their skills and experiences together to develop les Chantiers, a program dedicated to supporting emerging artists in French Brittany region.

    Les Chantiers select every year two emerging artists living and working in French Brittany region to complete a project, accompanied by professional actors. After a three months residency, the project is exhibited at Passerelle Centre d’art contemporain. Documents d’Artistes Bretagne develops a specific website to document the residence and the project.

    In 2017-2018, Les Chantiers welcome artists Edouard Le Boulc’h and Laure Mathieu.

    visit les Chantiers’s website








  • Le centre d’art


    Project

    Passerelle Centre d’art contemporain is an exchange platform between art production and its publics set up since 1988 within an exceptional industrial building of 4000 m² located in the heart of Brest. The goals of creation, mediation and diffusion Passerelle thrives for are as many collective production areas where artists and visitors contribute actively on argumentation toward what stir, build and sharpen our relationship with contemporary art.

  • Each year, the programme combines around 10 solo or group exhibitions featuring French and international artists, screening cycles, meetings, debates and various means of assistance for the audience in their discovery of techniques used and exhibited. Passerelle Centre d’art contemporain is also a cross-disciplinary scene exploring other fields of the contemporary creation such as design and performing arts.





    History

  • Passerelle Centre d’art contemporain, Brest, géré depuis 1988 par une association d’amateurs d’arts engagés dans la vie de la ville et de la région brestoise, est situé à Saint-Martin, un quartier de Brest miraculeusement préservé par les bombardements de la Seconde Guerre mondiale.

    L’exceptionnel espace architectural qui accueille aujourd’hui Passerelle a été construit entre 1946 et 1955 selon des plans s’inscrivant dans la mode de la fin des années 1930 pour le compte d’une société coopérative, L’Alliance des Travailleurs (sources : service des permis de construire de Brest métropole océane). Après l’achèvement, à la fin des années 1940, du corps central du bâtiment (sources : les Archives municipales de Brest conservent des vues aériennes montrant la grande verrière en 1950, voir ci-contre), l’édifice est complété en 1955 par l’aile – inachevée- donnant sur la rue Charles Berthelot (sources : permis de construire daté du 03 février 1955). Dès le 25 octobre 1956, cette société coopérative a fusionné avec La Léonarde, entreprise d’alimentation générale qui possédait de nombreux comptoirs de distributions dans le Nord-Finistère. Les locaux deviennent propriété de cette dernière (sources : actes notariés chez Maître Mocaër, notaire à Guipavas, Finistère). Le 11 août 1960, les locaux du 41 rue Charles Berthelot sont vendus par la coopérative La Léonarde à Monsieur Antonio Horrach, grossiste en fruits et légumes. Ce commerçant très actif, originaire de Majorque installé à Brest avant 1939, installe son dépôt dans l’édifice. Il y effectue diverses modifications dès 1961 (sources : service des permis de construire de Brest métropole océane) : installation de réfrigérateurs, aménagement d’une mûrisserie de bananes dans les sous-sols…

    Vue aérienne du quartier Saint-Martin dans les années 50

  • En juin 1971, si la société fusionne avec Muribane, un autre grossiste en fruits et légumes installé au port de commerce de Brest, Antonio Horrach reste propriétaire des locaux qui poursuivront leur activité jusqu’en juin 1972. Au cours des années suivantes, l’édifice – devenu la propriété de Madame Catherine Coat, fille d’Antonio Horrach – sera loué à diverses entreprises spécialisées en vente de meubles, parmi lesquelles Brest Meubles et BUT. Le 05 septembre 1989, le vaste édifice de la rue Berthelot est vendu par Madame Catherine Coat à la toute jeune association Passerelle (créée en 1988 dans le but de ce rachat) représentée par Serge Tanguy, son président-fondateur (sources : actes notariés chez Maître Maugendre, notaire à Brest). Dès 1991, l’association cède la propriété des lieux à la Ville de Brest. Depuis, une convention lie la ville et l’association Passerelle afin de poursuivre l’activité de diffusion de l’art contemporain.

    L’édifice de Passerelle Centre d’art contemporain, Brest, construit suivant la technique de béton précontraint développé par l’ingénieur Eugène Freyssinet, dispose d’une superficie de 4000 m² à l’architecture profondément originale, composée de volumes exceptionnels. Le patio central bénéficie d’une lumière zénithale provenant d’une verrière située à plus de 12 mètres de hauteur. Dans cette ancienne friche industrielle, de nombreuses salles se déploient sous la forme de vastes espaces ou de recoins plus intimistes, parfois même labyrinthiques : grand hall, mezzanine, hangar, quai, salle de conférences, ateliers, réserves, salles des étages, sous-sols… jouant avec les ombres et les lumières, comme autant d’interactions de forces au sein d’un bloc solidaire.





    Who are we ?

    Staff

     

     

    Director & curator

    Etienne Bernard
    contact@cac-passerelle.com

     

    Administration

    Maïwenn Thominot
    administration@cac-passerelle.com

     

    Communication & partnerships

    Emmanuelle Baleydier
    communication@cac-passerelle.com

     

    Audiences

    Thibault Brébant

    publics@cac-passerelle.com

     

    Group Services Assistant

    Lauriane Mordellet

    mediation@cac-passerelle.com

     

    Visitor information & multimedia

    Jean-Christophe Deprez-Deperiers
    contact@cac-passerelle.com

     

    Production

    Jean-Christophe Primel
    production@cac-passerelle.com

     

    Maintenance

    Pierre Le Saint
    technique@cac-passerelle.com

    Board

     

    President

    Françoise Terret-Daniel

     

    Vice-president

    Yves Pailler

     

    Treasurer

    Yves Pagès

     

    Vice-treasurer

    Franck Valentin-Lemeni 

     

    Secretary

    Joëlle Le Saux

     

    Vice-secretary

    René Gentric

     

    And also Bruno Chevillotte, Christine Finizio, Dominique Jézéquel, Jacqueline Nicolleau, Anne-Cécile Gatineau, Président of BMO / Mayor of Brest, Président of Conseil Régional de Bretagne, Président of Conseil Général du Finistère, Pascal Aumasson, Director of musée des Beaux-arts de Brest, Yannick Lucéa, Director of École Européenne Supérieure d’Art de Bretagne – Brest.





    Partners











    Les Passerelles


    Oufipo

    Oufipo means Ouvroir de Finistérités Potentielles. It is a local sound platform or “local Internet radio,” it depends. Oufipo aims to enhance the cultural vitality of Finistere area. 
     
    You can listen to audio recordings of conferences made in numbers of structures of the area, interviews with guests passing through these structures (artists, stage directors, scientists, photographers …), portraits of peculiar Finistarians (politicians, farmers, …) or documentary films shit in Brittany. 
     
    Oufipo and Passerelle Centre d’art contemporain are working together to produce sound contents within which artists and curators augment exhibitions and projects.

     

     

    > Listen to all audio recordings here











    Nous soutenir


    Mécénat

    Mécénat

    Soutenir Passerelle Centre d’art contemporain, c’est participer à la production et à la diffusion de l’art contemporain auprès de tous ses publics.

     

    >> Retrouvez le détail de nos actions et les modalités de soutien

     











    Publications














    Archives




    B

    M

    Z















    Privatisation


    Spaces available for your events

    Seminar room

  • Our gallery spaces in Passerelle Centre d’art contemporain are available for hire in the heart of a unique cultural destination.
    Your events can be designed in harmony with the artistic program and to be a collaboration of the education department for special visits and unforgettable memories.
    Passerelle spaces are equipped with suitable devices to all types of events, including a conference room and seminar rooms equipped with a video projection system.

     

    Astropolis #19 in le Patio

  • Le Patio & la Mezzanine, the Seminar Room and Le Hangar are three spaces with multiple combinations.
    They are flexible and adapted to any type of event: product launch, corporate event, cocktail, fashion show, photo shoot, filming or advertising spot …

     

     

    Informations and booking
    Maïwenn Thominot
    tél. +33(0)2 98 43 34 95
    administration@cac-passerelle.com

     
     







    Informations pratiques

    41, rue Charles Berthelot
    29200 Brest — FR
    tel. +33 (0)2 98 43 34 95
    fax. +33 (0)2 98 43 29 67

     

    DIRECTIONS

    Tram A – Saint-Martin or Octroi
    Bus line 7 – Kerigonan

     

    OPENING HOURS

    Open Tuesday from 14:00 to 20:00 and Wednesday to Saturday from 14:00 – 18:30
    closed on Sunday, Monday and bank holidays

    RATES

    full rate : 3 €
    guided tours & lectures : 4 €
     

    Free admission for members, individual children, students, unemployed, C-E-A, AICA & Le Quartier, Centre d’art contemporain, Quimper members.

     

    Free admission for all every first Tuesdays of the month.

     

    MEMBERSHIP’S RATES

    single : 20 €
    family : 30 €
    children, unemployed, student : 10 €
    school, association, community centers, other organisations : 40 €

     

     

    > ALL RATES 2014/2015

    GRAPHISME

     

    En 2013, Frédéric Teschner Studio est missionné pour faire évoluer les outils de communication, l’identité et la charte visuelle afin de valoriser au mieux les nouvelles actions engagées par le Centre d’art.

     

    Pour le développement du site internet, il s’associe à Benoit Bohnké.

     

     

    Pensé comme un véritable projet artistique inscrit dans la dynamique programmatique du Centre d’art, la proposition de Frédéric Teschner Studio constitue une création en perpétuelle évolution et renouvellement engagée dans la vie de Passerelle.

     

     

     

    Passerelle Centre d’art contemporain is supported by Ville de Brest, Brest Métropole, Conseil Départemental du Finistère, Conseil Régional de Bretagne and ministère de la Culture / DRAC Bretagne.

    In 2018, Passerelle received the label “Center for Contemporary Art of National Interest” from the Ministry of Culture.
     
      Passerelle Center for Contemporary Art is a member of the networks a.c.b. – art contemporain en bretagne et d.c.a. – association française de développement des centres d’art.

    NEWSLETTER

    You are an individual and you want to be kept informed of our programs and our events, receive our invitations to openings, subscribe now for our monthly newsletter

     

    EDUCATION PROGRAMS INFORMATIONS

    You are a teacher and you want to receive information about our educational activities and our accompanying documents specifically developed for your students according to official programs, subscribe now for our quarterly educational newsletter

     

    PRESS
    You are part of the press and you want to be kept informed of our programs and our events, receive our press releases, subscribe now to our media newsletter

     

     

    informations

    Communication & partnerships

    Emmanuelle Baleydier
    communication@cac-passerelle.com