Twenty years after the previous presentation of works from the collection of the Frac Bretagne at the Passerelle, and at the very moment when Etienne Bernard has been nominated its new director, this exhibition presents a selection of recently acquired works in comparison with more historical pieces. They invite the viewer for a dreamlike expedition, From the Earth to the Moon.
The first idea for the exposition followed the theme of the voyage at sea, in the context of the homecoming of Emperor Napoleon’s rowing galley to Brest after an absence of more than 70 years away at war. We alluded to Homer, Conrad, Rimbaud and the great epics and we made our first choice between the aesthetic quality of the works and the theme, without forgetting our own pleasure of discovery among the 5000 artworks of the Frac. This was all done in collaboration of the Director at the time, Catherine Elkar.
After several twists and turns and surprises, we had to make a second selection which took us audaciously from the Earth to the Moon. Through approximately thirty works that intermingle, that dialogue, that wander between the air and water, between minerals and the galaxies, between energy and the world of dreams. All not without a dose of derision and the spinning of metaphors. They are mostly recent acquisitions, but we did not prohibit ourselves with making connections with older works.
L’Abrestoise by Olivier Tourenc and Les Grands Sélénites by Di Matteo take us on a voyage from the Earth to the Moon, which passes by L’Ithaque by Marcel Dinahet or Maya, l’île perdue by Alexandre Ponomarev. No Pipe by Etienne Bossut keeps measure, Guillaume Leblon and Steven Pippin deal with time, Marcel Broodthaers dreams. Richard Long walks in the landscape and creates magical circles there, like Wilfrid Almendra and his Grand Opus, while Nikolas Fouré and the Mesures, Marion Verboom and her Concrétions or Nicolas Floc’h bring us back to earth. Gloria Friedman sees the Le Soleil levant sur la rivière (Sunrise on the River) through plastic piping, which are near terra cotta Medasa heads by Michel Gouéry. La Ventrue Anita Molinaro shows its extravagence and its excesses and is confronted by the purity of form by Briac Leprêtre.
You see, we are not too serious, but we hope to share the pleasure of seeing or seeing again artworks that allow us to go on a voyage.
Curators : Françoise Terret-Daniel et Bruno Chevillotte
The works of Anna Solal bring into play an almost primitive system of figuration. Or more precisely: primordial. That is to say that they flatten all of the intrinsic categories that normally equip our gaze, which are fundamentally oriented by their relationship to the real. Their process of fabrication proceeds the specific space-time of the artist, her position in a geography, in a socio-economic organization and of the symbols integrated into the collective imagination.
Born in 1988, the artist is today based in the close-in suburbs of Paris. She became known for assemblages that she realizes using vernacular urban materials – rubbish, then – that are found or sourced in local and informal circuits. Broken screens and smartphones, soles of soccer shoes, disposable razors, bicycle chains and various pieces of string and other pieces of metal, plastic and cloth are manually knotted together. They are then recomposed as clocks, kites, or swallows. A way, she explains, to enter as little as possible into a relationship of domination with the materials.
At Passerelle in Brest, the artist concentrates on the space of a garden. There are swallows here, which function as a clue to the impossibility of escaping outside, of escaping these downgraded materials found in the street, and through them, of escaping the total hold that a system of dematerialization enabled by communication technologies has on every human, penetrating walls and making data of flesh, even at home, in supposedly private spaces, propelling the local into the global scale.
Texte (extrait) : Ingrid Luquet-Gad
Translate by David Malek
Curator : Etienne Bernard
Videographers who work with slippages, trajectories, transformative videographers, videographers of the real…
Ce sont les îles qui se déplacent presents a selection of video works that question the world with a large diversity of approaches, where the fluctuation of images, the vertigo of waiting, of narrative displacement or ways of reading the present day are all prevalent at once. It is less about reproducing the real than producing a dream, where the viewer slowly slips into a day-dream.
The program is articulated in three parts – with a new program each month – like islets carried by the currents, where we are invited to discover a medium-length film, backed up by a selection of short videos.
Between displacement and contemplation, Face aux images presents works where the recurrent theme of the trajectory or of the chase – intended as a performative gesture or as an introspective and cinematic space (Samir Ramdani, Adrián Balseca, Gregory Buchert) interacts with the motif of the stance of the artist as a kind of lookout, whose conceptual approach questions the limits of perception (Anne-Charlotte Finel, Ismaïl Bahri).
Face aux miroirs, presents three stories; three portraits willfully dreamlike, whose images flirt with the surreal and the bizarre. The videos take the form of a metaphysical documentary, of an autobiographical narrative and of a mysterious and fantastical portrait. They also provide strong examples of the link between the artist and his or her subject. (Anush Hamzehian and Vittorio Mortarotti, Laida Lertxundi, Marie Losier). Face aux réel gathers together videos that scrutinize the world that surrounds us, whether it is “small” history or great History, our relationship to otherness, to globalization or to democracy, without ever quite becoming documentaries (Pinar Öğrenci, Giulio Squillacciotti, Enrique Ramírez, Ariane Loze).
Ce sont les îles qui se déplacent includes works by Ismaïl Bahri, Gregory Buchert and Enrique RamÍrez – whose video Trois faisceaux lumineux, blancs et rotatifs served as inspiration for the title.
These works were produced during the artists’ residency at the Sémaphore du Créac’h, a project initiated by Marcel Dinahet, founder of Finis terræ.
Finis terræ is the partner of the third edition of Territories EXTRA, which took place on the island of Molène in April 2019.
Curator : Alessandra Prandin
In the frame of Territoires Extra
In partnership with the association Finis terræ and with the support of Marcel Dinahet
DEMO FLASH from Razvan Boar
ENCYCLOPEDIE PRATIQUE from Lenio Kaklea
KARMAMOUSSE from Alisson Schmitt
LA CASCADEURE from Virginie Barré, Romain Bobichon & Julien Gorgeart
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.
T. +33(0)2 98 43 34 95
« 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.
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.
T. +33(0)2 98 43 34 95
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.
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…
T. +33(0)2 98 43 34 95
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.
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.
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.
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.
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…
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.
Director & curator
Communication & partnerships
Group Services Assistant
Visitor information & multimedia
Pierre Le Saint
Joëlle Le Saux
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.
Passerelle Centre d’art contemporain is supported by
Passerelle Centre d’art contemporain is part of
Passerelle Centre d’art contemporain develops different projects and partnerships with
> Listen to all audio recordings here
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
- MAHÉ Gilles
- « J’ai tellement d’idées à la journée qu’il ne m’a jamais été utile de choisir une stratégie »
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.
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
tél. +33(0)2 98 43 34 95
41, rue Charles Berthelot
29200 Brest — FR
tel. +33 (0)2 98 43 34 95
fax. +33 (0)2 98 43 29 67
Tram A – Saint-Martin or Octroi
Bus line 7 – Kerigonan
Open Tuesday from 14:00 to 20:00 and Wednesday to Saturday from 14:00 – 18:30
closed on Sunday, Monday and bank holidays
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.
single : 20 €
family : 30 €
children, unemployed, student : 10 €
school, association, community centers, other organisations : 40 €
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.
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EDUCATION PROGRAMS INFORMATIONS
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Communication & partnerships