samedi dimanche lundi mercredi jeudi vendredi samedi dimanche 27 28 29 1 2 3 4 5 27 mardi lundi 30 6 SEPTEMBer

mardi samedi dimanche lundi jeudi dimanche 7 11 12 13 16 19 30 mercredi mardi vendredi lundi 8 14 17 20 NOVEMBer

jeudi vendredi mercredi samedi mardi 9 10 15 18 21 2014 mercredi vendredi samedi lundi mardi jeudi vendredi samedi Les Ateliers 22 24 25 27 28 30 31 1 jeudi dimanche mercredi dimanche de Rennes 23 26 29 2

lundi jeudi vendredi lundi jeudi vendredi 3 6 7 10 13 14

mardi mercredi samedi dimanche mardi samedi 4 5 8 9 11 15 Biennale d’art

mercredi dimanche 12 16 contemporain

lundi mardi mercredi vendredi samedi dimanche lundi Halle de la Courrouze 17 18 19 21 22 23 24 Musée des Beaux-Arts de Rennes jeudi mardi Frac Bretagne 20 25

mercredi jeudi vendredi samedi dimanche 40mcube • Le Cabinet du livre d’artiste 26 27 28 29 30 La Criée centre d’art contemporain Phakt Centre Culturel Colombier Passerelle (Brest) • Le Quartier (Quimper) www.lesateliersderennes.fr Press kit Contents

Foreword by Bruno Caron · 4

01 Les Ateliers de Rennes · 5 > The 4th edition · 6

02 Zoë Gray’s curatorial project: PLAY TIME · 7 > An introduction by the curator · 8 > 3 venues for 3 group exhibitions · 9 > Artistic choices · 10 > The artists of the biennale · 11, 12

03 PLAY TIME at the Halle de la Courrouze The Playground · 13

04 PLAY TIME at the Museum of Fine Arts of Rennes The Right to Laziness · 19

05 PLAY TIME at the Frac Bretagne Work as Play, Art as Thought · 25

PLAY TIME - Image captions · 33, 34

06 Associated exhibitions · 35 > 40mcube · 37 > Le Cabinet du livre d’artiste · 38 > La Criée centre d’art contemporain · 39 > Phakt Centre Culturel Colombier · 40 > Passerelle Centre d’art contemporain (Brest) · 41 > Le Quartier Centre d’art contemporain (Quimper) · 42

2 07 Programme of events · 43

08 Collaborations · 49 > EESAB, partner school of the biennale · 49 > The biennale OFF · 50

09 Outreach · 51

10 Organisation · 53 > Organisation: Art Norac / Steering committee · 53 > Curator: Zoë Gray · 54 > Implementation: le troisième pôle · 54

11 Practical Information · 55 > Information · 55 > Exhibition venues / Entry prices · 56 > Contacts and team · 57 > Associated exhibitions · 58 > Useful info on Rennes · 59

12 Funders and partners · 60

3 Foreword by Bruno Caron

2014, Games on the agenda

Winter Olympic Games, World Cup, Ateliers de Rennes…

The 4th edition of Les Ateliers de Rennes - contemporary art biennale, titled PLAY TIME, offers you an opportunity for reflection and exchange on the subjects of work and play.

Zoë Gray, the audacious curator of this edition, invites you to come and discover the way artists view work, leisure, and play.

Our desire to make contemporary art, the art of our times, accessible to a broad audience on a regional and national level should be achieved with this engaging exhibition, conceived as a both playground and a workspace. The artists and works selected by Zoë Gray will doubtless have an effect upon us, as long as we are willing to play along. Les Ateliers de Rennes eagerly await your participation in this biennale, or, in the words of Zoë, “this brief moment during which extraordinary things are possible.”

The ball is in your court!

- Bruno Caron President of Art Norac (Presentation of Art Norac page 53)

4 Les Ateliers 01 de Rennes

The first biennale dedicated to exploring the relations between art and the economy, a field rich with creative possibilities, Les Ateliers de Rennes offers the opportunity for artists to examine essential subjects such as work and the value we assign to it.

Since 2008, the non-profit association Art Norac has organized the contemporary art biennale Les Ateliers de Rennes (literally Rennes’ Workshops), an event dedicated to exploring the connections between contemporary art and enterprise. Founded in 2005, Art Norac is the wing of the Norac Consortium (a group of fifteen food-processing companies) dedicated to artistic patronage. Its aim is to promote and support contemporary artistic creation and make it accessible to all.

The biennale is funded in partnership with regional and local public authorities (Rennes City and Urban Community, the Department of Ille-et- Villaine, the Region of Brittany) and the French Ministry of Arts, Culture and Communication. The biennale’s total budget is 1,9 million euros.

Les Ateliers de Rennes has become a major date in the French cultural landscape. The objective of the fourth edition is to continue to work together with local and regional partners, while also expanding the outreach of the event on an international level to become a key moment in the European art calendar.

Les Ateliers de Rennes is the only European artistic event to devote itself to a reflection on the connections between art and the economy. For each edition, a guest curator is invited to define a thematic with this cross-disciplinary approach, and to develop a programme of exhibitions, projects, and events that explore the subject. The previous editions (2008, 2010 and 2012) have examined the thematic in three different ways: the curator Raphaële Jeune worked in 2008 with about 60 artists under the heading Valeurs croisées (Crossed Values) on the concept of value creation; then in 2010 with about 50 artists on Ce qui vient (That which is coming), on the concepts of innovation, invention and creation. In 2012, the curator Anne Bonnin – under the heading Les Prairies (The Prairies) – focused with around 60 artists on the figure of the pioneer.

Art Norac selected last summer the project of Zoë Gray (independent curator, based in Brussels): PLAY TIME. Her exhibition invites some 50 artists to think about the notions of work, play and leisure. Les Ateliers 01 de Rennes

The 4th edition

Dates: 27 September - 30 November 2014 Curator: Zoë Gray Organisation: Art Norac Production / communication / outreach: le troisième pôle

The fourth edition of Les Ateliers de Rennes - contemporary art biennale, is a sequence of three international group exhibitions that questions our way of working and playing together. Titled PLAY TIME, these exhibitions present emerging and renowned artists, existing works and new productions. They take place in established arts venues in the city of Rennes (Museum of Fine Arts of Rennes, Frac Bretagne) and in a former artillery warehouse in an area currently undergoing extensive transformation, the Halle de la Courrouze.

The biennale additionally brings together a network of arts venues and partners in Rennes and across Brittany: 40mcube; le Cabinet du livre d’artiste; La Criée centre d’art contemporain; Phakt Centre Culturel Colombier (all in Rennes); Passerelle Centre d’art contemporain in Brest and Le Quartier Centre d’art contemporain in Quimper. Each of these venues presents solo exhibitions of artists who also feature in the group shows of PLAY TIME.

Appropriating the title of Jacques Tati’s most famous commercial flop, the critically revered film Playtime (1967), the exhibition takes a Hulotesque stroll through the field of contemporary artistic practice. The biennale PLAY TIME treats the exhibition as simultaneously a playground and a space of work.

A programme of events, gatherings, discussions, and performances animate the duration of the biennale, making it an important moment for contemporary art in Brittany this autumn.

6 Zoë Gray’s curatorial project: 02 PLAY TIME

“Play cannot be denied. You can deny, if you like, nearly all abstractions: justice, beauty, truth, goodness, mind, God. You can deny seriousness, but not play. […] Genuine, pure play is one of the main bases of civilization.” - Johan Huizinga, Homo ludens (1951)

“However powerful our technology and complex our corporations, the most remarkable feature of the modern working world may in the end be internal, consisting in an aspect of our mentalities: in the widely held belief that our work should make us happy. All societies have had work at their centre; ours is the first to sug- gest that it could be something much more than a punishment or penance. Ours is the first to imply that we should seek to work even in the absence of a financial imperative. Our choice of occupation is held to define our identity to the extent that the most insistent question we ask of new acquaintances is not where they come from or who their parents were but what they do, the assumption being that the route to meaningful existence must invariable pass through the gate of remunerative employment.” - Alain de Botton, The Pleasures and Sorrows of Work (2010)

“Lying in bed would be an altogether perfect experience if only one had a coloured pencil long enough to draw on the ceiling.” - G.K. Chesterton On Lying in Bed (1909) Zoë Gray’s curatorial project: 02 PLAY TIME

An introduction by the curator

In founding Les Ateliers de Rennes, Art Norac’s wish was to explore the “convergences, divergences and interrelations between art and business.” This focus is close to my own areas of curatorial research of recent years, which has explored notions of production, manufacture (industrial, artisanal and artistic) and the value of different types of work.

For this 4th edition of Les Ateliers de Rennes, I am continuing to pursue this line of enquiry, while also attempting to propose an alternative to the widespread glorification of work today as the ultimate form of self-validation. In doing so, I am curious to explore notions such as play, indolence or sloth, activities contradictory to the dominant focus on productivity and efficiency.

One of my starting questions was: What is play – is it the flipside of work, or are they one and the same thing? Today, whenever I ask people what they are doing, they always reply: “working.” But is this true? Are we working, or are we actually playing? We would never admit to the latter, because playing – beyond childhood – has an entirely negative connotation.

In our work-oriented culture, especially in the protestant north, we have been told since the Middle Ages that idle hands are morally suspect. Since the Industrial Revolution, our hitherto self-organized manner of working – and playing – has been standardized, made to fit the factory whistle and the office clock. What has this done to our understanding of play time? And what has it done to our understanding of art?

Somehow, in general culture today, a Romantic notion of the artist persists: the tortured genius or lascivious lay-about, he (and it is still usually a he) shirks away from “real” work to daydream all day in his crumbling studio, after a night of alcohol-fuelled debauchery. In reality, the 21st century artist is more likely to be found in an airport lounge, tapping at her computer as she negotiates an international range of appointments, exhibitions and residencies. This hard working, hyper-connected individual is – ironically – the ideal worker of global capitalism: flexible, unfettered, “free.” Forward thinking companies – or those who wish to portray themselves as such – encourage their employees to work in a similar manner, either letting them roam far from the office, or offering them work spaces that resemble art schools or playgrounds.

Through the presentation of some sixty artworks, PLAY TIME explores: ›› the time of work and of non-work (play) ›› the value of work and play ›› the importance of moments if non-work and indolence ›› play as a critical force

- Zoë Gray (See biography page 54)

8 Zoë Gray’s curatorial project: 02 PLAY TIME

3 venues for 3 group exhibitions

PLAY TIME takes place in three very diverse spaces, which are located in very different parts of the city. ›› The Halle de la Courrouze, is located in an area to the southwest of Rennes, that is currently undergoing extensive transformation, with the construction of new schools, housing and various facilities, including a new metro station. The hall was formerly an artillery warehouse, which dates back to the early 19th century. It is one open space, divided only by metal columns, measuring some 1700 m2. It opens to the public for the first time with the opening of the biennale. ›› The Museum of Fine Arts of Rennes, is located in the centre of the city in a 19th Century neo-classical building. The central atrium of the museum and the ground-floor galleries will be dedicated to the biennale, totalling some 800 m2. ›› The Frac Bretagne, is located in the north of Rennes, in a newly built neighbourhood close to the university. While the FRAC has existed as an institution for 30 years, this purpose-built exhibition space of 1000 m2 only opened in 2012.

Rather than trying to unify these very different venues, Zoë Gray has decided to use each of their strengths to create an original exhibition. Each space is a self-contained chapter, which can function independently from the others while also being part of a larger whole, coming under the umbrella title of Play Time, while each having a subtitle: ›› The Playground at la Halle de la Courrouze (see page 13) ›› The Right to Laziness at the Museum of Fine Arts of Rennes (see page 19) ›› Work as Play, Art as Thought at the Frac Bretagne (see page 25)

9 Zoë Gray’s curatorial project: 02 PLAY TIME

Artistic choices

The curator’s work is one of research, selection, dialogue and then presentation, which in turn provokes further dialogue. Zoë Gray approaches her selection as a choice of artistic practices rather than simply a choice of artworks. In inviting artists to take part in the biennale, she has sought out those whose practices demonstrate a shared interest in notions of work, play and indolence. She has invited some artists who have already produced work exploring such ideas, as well as artists who are intrigued to do so. Her selection focuses on artists who succeed in combining critical reflection with an engaging aesthetic, making for a sequence of exhibitions that can be read on many levels.

In her selection (see the following page) she has included some artists with whom she has already worked extensively (such as Cosima von Bonin, or Daniel Dewar and Grégory Gicquel) and whose vision has greatly shaped her own curatorial practice. Zoë Gray has also included some more recent “discoveries”, including some artists from Brittany. She has sought to mix the work of well-known artists with those emerging onto the international scene, to present work by French and non-French artists, to give the public a vision of the diversity of contemporary artistic practice, without trying to be encyclopaedic.

After a period of research and selection, Zoë Gray’s work is based on dialogue, on an exchange with the individual artists. In an effort to avoid falling into the trap of many large group shows that only present one work per artists, she has invited most of the participants to present at least two pieces (often combining an existing work with a new commission). Their works are also divided across two or more venues, in order to connect the three group exhibitions and to give the public several points of access into an artist’s practice.

This same logic has informed the collaborations that she has established with the partner venues of the biennale. Each partner venue is presenting a solo show of one of the artists featured in the group shows of PLAY TIME. The choice of these six artists was made by Zoë Gray together with the directors of each space, who then take on the curation of their respective shows. (see page 35 for the list of who is showing where).

For Zoë Gray, it was important that a biennale focused on work should place an emphasis on new commissions and on the creative process. Among the thirty artists invited, around half are making new work for the biennale (see the names marked with an asterisk on the following page). Commissioning new work brings with it a certain risk, as the outcome of many of the new productions will remain unknown until the opening of the biennale.

However, as Roger Caillois writes in his 1958 book Les Jeux et les Hommes: “A game is a free activity. It is inherently an uncertain activity. Doubt must remain until the very end. When the outcome is no longer unknown, we stop playing. An outcome known in advance, without the possibility of error or surprise, leading to an inevitable result, is incompatible with the very nature of a game”1.

1 - Roger Caillois, Les jeux et les hommes (Paris: Folio essais, Éditions Gallimard, 1st edition, 1958, revised edition, 1967).

10 Zoë Gray’s curatorial project: 02 PLAY TIME

The artists of the biennale

The artists chosen by Zoë Gray to compose this 4th edition of the Ateliers de Rennes have different artistic practices and come from all over the world. Half of them are creating new work for the biennale. They are marked with a *. Six artists also present a monographic exhibition in an associated venue, they are mentionned with a °.

Michael Beutler, born in Germany in 1976. Lives and works in Berlin.* Cosima von Bonin, born in Kenya in 1962. Lives and works in Cologne. Nicolas Chardon, born in 1974 in France. Lives and works in Paris. François Curlet, born in 1967 in France. Lives and works in Brussels (see next page for details of his collective artwork included in the biennale).* Sam Curtis, born in 1981 in Great Britain. Lives and works in London. Daniel Dewar & Grégory Gicquel, born in 1976 in Great Britain and in 1975 in France. Live and work in Paris and Brussels.* Jimmie Durham, born in 1940 in USA. Lives and works in Berlin.* Priscila Fernandes, born in 1981 in Portugal. Lives and works between Amsterdam and Berlin.° Robert Filliou, born in 1926 in France. Deceased in 1987. Marianne Flotron, born in 1970 in Switzerland. Lives and works in Amsterdam. Fucking Good Art (Rob Hamelijnck & Nienke Terpsma), born in 1959 and in 1968 in the Netherlands. Live and work in Rotterdam.* ° Ane Hjort Guttu, born in 1971 in Norway. Lives and works in Oslo.° Gaspar Libedinsky, born in 1976 in Argentina. Lives and works between Buenos Aires, London and New York. Erik van Lieshout, born in 1968 in the Netherlands. Lives and works in Rotterdam. Maider López, born in 1975 in Spain. Lives and works in San Sebastián.* Erwan Mével, born in 1979 in France. Lives and works in Rennes.* Gareth Moore, born in 1975 in Canada. Lives and works in Vancouver. ° Oscar Murillo, born in 1986 in Colombia. Lives and works in London.* ° Rivane Neuenschwander, born in 1967 in Brazil. Lives and works in London and Cao Guimarães, born in 1965 in Brazil. Lives and works in Belo Horizonte. Bruno Peinado, born in 1970 in France. Lives and works in Douarnenez.* Hans Schabus, born in 1970 in Austria. Lives and works in Vienna. Katarina Šević, born in 1979 in Serbia. Lives and works in Berlin and Tehnica Schweiz: Gergely László, born in 1979 in Hungary. Lives and works in Berlin and Péter Rákosi, born in 1970 in Hungary. Lives and works in Budapest.* Pilvi Takala, born in 1981 in Finland. Lives and works in Istanbul.* Jay Tan, born in 1982 in Great Britain. Lives and works in Amsterdam. Koki Tanaka, born in 1975 in Japan. Lives and works in Los Angeles.* ° Thomas Tudoux, born in 1985 in France. Lives and works in Rennes.*

11 Zoë Gray’s curatorial project: 02 PLAY TIME

Artists invited by François Curlet for GOGOLF échelle 1:

Lilian Bourgeat, born in 1970 in France. Lives and works in Dijon. Michael Dans, born in 1971 in Belgium. Lives and works in Liège. Denicolai & Provoost: Simona Denicolai, born in 1972 in Italy and Ivo Provoost, born in 1974 in Belgium. Live and work in Brussels. Vincent D’Houndt, born in 1972 in France. Lives and works in Lille. Florence Doléac, born in 1968 in France. Lives and works in Paris and in Brittany. David Dubois, born in France in 1971. Lives and works in Paris. Michel François, born in 1956 in Belgium. Lives and works in Brussels. Gaillard & Claude: Patrice Gaillard, born in 1974 in France and Claude, born in 1975 in France. Live and work between Brussels and Normandy. Pierre Huyghe, born in 1962 in France. Lives and works between Paris and New York. Ann Veronica Janssens, born in 1956 in Great-Britain. Lives and works in Brussels. Sven’T Jolle, born in 1966 in Belgium. Lives and works between Antwerp and Melbourne. Emilio López Menchero, born in 1960 in Belgium. Lives and works in Brussels. M / M (PARIS): Michael Amzalag, born in 1968 in France and Mathias Augustyniak, born in 1967 in France. Live and work in Paris. Mrzyk & Moriceau: Petra Mrzyk, born in 1973 in Germany and Jean-François Moriceau, born in 1974 in France. Live and work in Montjean-sur-Loire. Jean-Marc Paquot, born in 1957 in France. Lives and works in Marseille. Tobias Rehberger, born in 1966 in Germany. Lives and works in Frankfurt. Hugues Reip, born in 1964 in France. Lives and works in Paris. Franck Scurti, born in 1965 in France. Lives and works in Paris. Pierre Tatu, born in 1957 in France. Lives and works between Paris and Brussels. Christophe Terlinden, born in 1969 in Belgium. Lives and works in Brussels. Donelle Woolford, born in 1954 in the United States. Lives and works in New York.

(see the presentation of GOGOLF échelle 1 on page 14)

Read more: www.lesateliersderennes.fr > The 4th edition > Artists

12 PLAY TIME at the Halle de 03 la Courrouze

The Playground

This exhibition – comprising several large new installations – transforms this expansive space into an artistic playground, making it one of the signature venues of this edition of the biennale. Instead of trying to transform this vast hangar into a museum-like space, the exhibition draws upon the particularities of the hall’s architecture, whose striking aesthetic reveals its industrial history. Focusing on ideas of work and play, the tone is set even before the visitor reaches the venue. The entire area of La Courrouze is under development as part of an ambitious civic project planned for completion in 2020 and immediately adjacent to La Halle are the works for the forthcoming metro line and station. It is therefore necessary to cross several building sites to reach the exhibition. Once inside, the visitor is greeted by playful installations such as those by Michael Beutler and François Curlet (see below for details). Read more: www.lesateliersderennes.fr > The 4th edition > PLAY TIME, the venues

A former military arsenal from the nineteenth century, La Halle de la Courrouze is situated on the Rue Lucie et Raymond Aubrac. This is a major axis route across the zone of La Courrouze, which is located in the commune of Saint-Jacques, to the southwest of Rennes.

It is an area that is currently undergoing extensive transformation, with the construction of new schools, housing and various facilities, including a new metro line and station.

The space opens to the public for the first time on the occasion of the biennale.

Halle de la Courrouze Rue Lucie et Raymond Aubrac 35136 Saint-Jacques-de-la-Lande The Halle de la Courrouze, 2012 © Richard Volante Views of The Playground - PLAY TIME at Halle de la Courrouze © Aurélien Mole for PLAY TIME Views of The Playground - PLAY TIME at Halle de la Courrouze © Aurélien Mole for PLAY TIME PLAY TIME at the Halle de la Courrouze 03 The Playground

Artworks presented

Michael Beutler The Market (2014) - new production Michael Beutler visited La Halle de la Courrouze in the autumn of 2013 at the invitation of Zoë Gray, who asked him to imagine an installation for this extraordinary venue. Seeing the building while it was still under renovation, he was struck by its resemblance to a covered market hall and developed a project titled The Market to present inside. Beutler’s sculptural installation is simultaneously a work in its own right, and a platform on which to present works by other artists – here the sculptures of Dewar & Gicquel, and of Bruno Peinado and his daughters. Formally inspired by market stands he saw in the Croatian town of Zadar, these market stands are designed and adapted by the artist, creating a familiar sight (a market) displaced in an unfamiliar setting (an exhibition).

François Curlet GOGOLF échelle 1 (collective work) - new production GOGOLF is a project dreamed up by François Curlet, which he has realized with the help of a number of friends and fellow artists. Several years ago, he had the idea to create a mini-golf course in which each “hole” would be designed by a different artist. The project was exhibited as a series of drawings in 2008 at the Galerie Commune in Tourcoing, and again in 2010 with an installation featuring several maquettes at La Chappelle du Genêteil, centre d’art contemporain in Château-Gontier. The aim 1 is to one day build the course as a permanent installation in public space. In the meantime, we present in PLAY TIME a life-sized maquette, in which the visitors can play. Featuring “holes” designed by artists, designers and architects – which range from the simple to the absurd and frankly unplayable – GOGOLF échelle 1 is at once a sculpture garden and an attraction park. It also exemplifies the generosity of Curlet’s approach, which often reaches out to include collaborations with other artists and stems from his own unquashable enthusiasm for art. GOGOLF échelle 1 artists: Lilian Bourgeat, Michael Dans, Denicolai & Provoost, Vincent D’Houndt, Florence Doléac, David Dubois, Michel François, Gaillard & Claude, Pierre Huyghe, Ann Veronica Janssens, Sven’T Jolle, Emilio López Menchero, M / M (PARIS), Mrzyk & Moriceau, Jean-Marc Paquot, Tobias Rehberger, Hugues Reip, Franck Scurti, Pierre Tatu, Christophe Terlinden, Donelle Woolford. This work is realised with the support of the ministry of Culture and 2 Communication, DRAC Bretagne.

16 PLAY TIME at the Halle de la Courrouze 03 The Playground

Sam Curtis Did Anyone Ever Tell You That You’re Beautiful When You’re Following Orders? (2013) The video is comprised of fragments that Sam Curtis found online. Ironically titled Did anyone ever tell you that you’re beautiful when you’re following orders?, it edits together moments in which personal expression overrides or interrupts the dullest working day. It captures how people enjoy perfecting even mundane tasks, how picking up litter, cleaning a window, or clearing a table can become a balletic dance. Curator Robert Dingle writes: “Whether 3 the workers’ activities are signs of genuine aspiration or simply the means of combating the monotony of daily toil, Curtis’s work is one of both despondency and hope. Challenging our assumptions of how we expect those individuals to act within the predefined roles of their employment, the work explores the creativity that exists within every job.”

Dewar & Gicquel Stoneware vessel (2014) - new production Historically, to become a skilled craftsman required obedience, following the rules of one’s forefathers within a particular tradition or guild. Dewar & Gicquel are disobedient in the subjects of their craft while being faithful to the techniques. In their various projects, they set out to master various skills, but it is in the creative misuse of a technique that their work finds its resonance. For their new series of sculptures – made for PLAY TIME – they have worked with Daniel Dewar’s father, a potter based in Brittany. In this collabo­ration, they combine their sculpted elements made in clay with the thrown vases made by Mr Richard Dewar, to create surreal ceramics that are at once strange and familiar. Their works are shown within The Market by Michael Beutler, in reference to the typical way that “non-art” ceramics are presented and sold in craft markets.

Priscila Fernandes For a better world (2012) Priscila Fernandes describes her video For a better world as follows: “In a miniature city, several corporate chains get together to stage, for children, the role of adult consumer and employee. The video follows a group of children role-playing as adults in a modern city. Children are asked to find jobs in a supermarket, work as doctors or spend leisure time in the disco. The police are there to pro- tect, firemen are there to help, but in this seemingly smoothly run environ­­ment, chaos starts to erupt. Will the children conform to 4 the given tasks or will they rebel?”

17 PLAY TIME at the Halle de la Courrouze 03 The Playground

Taking the form of a hand-held video, shot as if the artist was the parent of one of these children, the work does not make an outspoken pronouncement about the existence of such commer- cially sponsored playgrounds. Yet the title, with its clearly ironic tone, and the way that Fernandes zooms in on children who seem more oppressed than liberated by their choice of game, make it clear that she is highly critical of this construction.

Fucking Good Art: Rob Hamelijnck & Nienke Terpsma Fucking Good Art #31 – It’s play time (2014) new production For PLAY TIME, Rob Hamelijnck & Nienke Terpsma have created a new edition of Fucking Good Art, a bilingual book available during the biennale. Structured around 4 conversations, it takes as its starting point the 1938 book Homo Ludens: a study of the play-element in culture by Johan Huizinga. The artists spoke with the following people as part of their research into the importance of play in different fields: Tijs Goldschmidt, Dutch writer and evolutionary biologist, on why and how animals play; Joris Luyendijk, Dutch journalist who writes for the BBC’s experimental Banking Blog, which looks at the world of finance from an anthropological perspective. He is currently analysing the behaviour of bankers in the City of London; Evelyne Reeves, director of Le Bureau des Temps in Rennes, an agency that devises improvements in the way the city structures its time; and

5 Zoë Gray about her ideas for the biennale.

Maider López Piscine Saint-Georges (2014) - new production Maider López visited Rennes in September 2013 and the swim- ming pool Saint-Georges caught her attention, due to its art deco architecture and the way in which it is so widely used by the inhabitants of Rennes. At Maider López’s invitation, on Saturday 14th June 2014, eighty- six swimmers come to Saint-Georges swimming pool in Rennes. It seems to be an ordinary day, but something is different: the swimming pool is full of people swimming in unbroken lines. They are trying to swim normally, but there are so many people that the action becomes almost impossible. Also, instead of overtaking the swimmer in front of them, they are obliged to adapt to the speed of the slowest swimmer. The new rules create new dynamics and inspire the swimmers to find new ways to collaborate. The artwork – which encompasses the event and its documen­ tation – touches upon several seemingly contradictory elements: 6 simultaneously playful and structured, it transforms a leisure activity into a highly coordinated piece of work, while still keeping

18 PLAY TIME at the Halle de la Courrouze 03 The Playground

the aspect of a game, but one in which the rules have been changed.

Erwan Mével Kiosque République & Kiosque Courrouze (2014) - new production Excited by his designs for the reception and office of 40mcube, Zoë Gray approached Mével with the brief to design two units for PLAY TIME: an information point to be placed at La Place de la République and the ticket office/welcome desk for La Halle de la Courrouze. Discussing the atmosphere of the biennale and the imagery from Jacques Tati’s Playtime, Erwan Mévél gathered images of kiosks, ranging from the 19th century Parisian news­ paper kiosk to the ticket-stands in funfairs. He then came up with two very different designs, reflective of the different functions and locations of his brief, but which both drew upon the visual identity 7 for PLAY TIME (created by Chevalvert, Paris).

Rivane Neuenschwander & Cao Guimarães Quarta-Feira De Cinzas / Epilogue (2006) Quarta-feira de Cinzas (Ash Wednesday) is the last day of Carnival, an epilogue to four days of celebration. In this film, ants transport pieces of coloured paper across the forest floor, a reference to the confetti that is used in Brazil during Carnival. These hardworking insects seem to be tidying up after the humans have finished playing, or perhaps what we are witnessing is the ants’ very own Carnival parade. The video’s music also refers directly to 8 the tradition of Carnival. Composed by the Brazilian duo O Grivo, it uses elements of samba and draws specifically on the song “Me deixa em paz” [Leave Me Alone] by Monsueto and Ayrton Amorim. The soundtrack mixes ambient noise captured during the shooting of the video and the sound of matchsticks dropping onto the floor. The matchbox is commonly used in Brazilian as an improvised rhythm instrument, “played” by the gentle tapping it with one’s fingertips.

Bruno Peinado Sans titre, Shack up with (2014) - new production

When invited to participate in PLAY TIME and create a work for La Halle de la Courrouze, Bruno Peinado decided to work on a domestic scale. With his daughters Josephine (nine years old) and Simone (six years old) he has created a series of modest artworks by hand. They are made with leftovers, with fragments of ceramic and wood, fabric and beads, with objects found in

19 PLAY TIME at the Halle de la Courrouze 03 The Playground

the street or in flea markets. He describes this project – like his large installation shown at the Frac Bretagne (see page 30) – as revealing the pleasure of making, whether individually or collectively, a pleasure he shared with his children.

Pilvi Takala Real Snow White (2009) In Pilvi Takala’s video Real Snow White, the artist challenges Walt Disney and the branding of a fairy tale. Dressed up as Disney’s Snow White, the artist tries to enter Disneyland Paris, but is repeatedly rebuffed by security guards. They explain that she is not allowed to enter as people may mistake her for the “real” Snow White. “But I thought the real Snow White was a drawing”, she says at one point. The Disneyland employees are oblivious to her point and finally oblige her to remove her costume. A simple yet powerful work that raises questions about who controls our imagination, who runs the “dream factory”, and the extent to which they will go to protect it, the video also asks whether adults are 9 allowed to enter the childhood world of make-believe.

20 PLAY TIME at the Museum of Fine Arts of 04 Rennes

The Right to Laziness

In 1880, during a stay in prison, Paul Lafargue (anarchist and son-in-law to Karl Marx) wrote his manifesto The Right to Laziness: a refutation of the right to work. His principal argument was that: “In capitalist society work is the cause of all intellectual degeneracy, of all organic deformity.”

Today, whilst the right to work is widely reclaimed – and the search for work has become the principal activity of so many citizens – the right to laziness has been forgotten. Using Lafargue’s text as a starting point, the exhibition at the Museum of Fine Arts of Rennes focuses on the artist as a idler, refusing standardized notions of work as a conscious, critical choice.

The exhibition insists upon the importance of laziness and indolence as a rich feeding ground for creativity. It creates a moment of rest at the heart of the biennale.

Read more: www.lesateliersderennes.fr > The 4th edition > PLAY TIME, the venues

Established in 1801, the Museum of Fine Arts of Rennes benefitted from rev- olutionary seizures and contains a part of the prestigious cabinet of curiosities of Christophe-Paul de Robien (1698 – 1756), a president of the Parliament of Brittany. Later, the collection expanded thanks to additions from the government, donations, submissions, bequests and acquisitions. Thus, the museum shows today some key works of great artistic movement from the Renaissance to con- temporary art. Their XVIIth c masterpieces, as the Nouveau-Né by Georges de La Tour or the Chasse aux tigres by Rubens are universally known. Open to the world, the museum in a prospective and living place makes a dialogue between yesterday and today art. In order to discover the wealth of these collections and of the many temporary exhibitions, which are presented, varied and free actions are programmed for all visitors.

Museum of Fine Arts of Rennes 20, Quai Emile Zola – 35000 Rennes T. +33 (0)2 23 62 17 45 / www.mbar.org Patio of the Museum © Musée des beaux-arts de Rennes Views of The Right to Laziness - PLAY TIME at the Museum of Fine Art of Rennes © Aurélien Mole for PLAY TIME Views of The Right to Laziness - PLAY TIME at the Museum of Fine Art of Rennes © Aurélien Mole for PLAY TIME PLAY TIME at the Museum of Fine Arts of Rennes 04 The right to laziness

Artworks presented

Nicolas Chardon Magnétiques (2004) In 1915, the Russian painter Kazimir Malevich (1879-1935) set out his manifesto founding the Suprematist art movement and created one of the most influential paintings of the 20th century: Black square. This painting revolutionised the understanding of what painting could be, laying one of the cornerstones of abstract art. Nicolas Chardon’s series of paintings titled Magnétiques – made almost a century later – is in the tradition established by Malevich (among others). Featuring white squares on a coloured ground, Chardon’s works play with the pictorial codes of abstrac- tion. But while the forms may be inspired by those previously painted onto canvas, in Chardon’s work they are in fact metal squares attached to their support by a magnetic force field. Akin to the magnetic noticeboards that one might find in any home or 10 office, the shapes can be removed and moved by the public, who can thus create their own abstract composition within the frame set by the artist. Funnily enough, Malevich wrote an homage to laziness in 1921, in which he claimed that laziness, instead of being the mother of all vices, should be considered to be the mother of perfection.

François Curlet Architecture Fainéante (2003) The installation Architecture Fainéante is simultaneously a sculp- ture and a proposition for a permanent piece of architecture. Featuring four maquettes on a trestle table, the work stems from François Curlet’s research into ways in which to make architec- ture as lazily as possible, using simply the force of gravity. In 2005, he designed a self-supporting structure that can be made by pouring concrete over an inflated dome, then deflating it to leave a concrete shell. The model presented here also features a rolled up sleeping bag, placed on the floor under the table. We could either take the sleeping bag to be the artist’s temporary 11 home – while he waits for the concrete domes to be realized (he is still waiting, although he is not actually homeless in the mean- time!) – or as the dreamer’s essential accessory, a place to rest that allows him to conjure up such ideas.

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Dewar & Gicquel La Couleur Verte Détachée De La Montagne Suit Le Mouvement De La Truite Prise (Sekite Hara) (2005) La Couleur Verte Détachée De La Montagne Suit Le Mouvement De La Truite Prise (Sekite Hara) is a sculpture made at a time that the duo were producing works that referenced the handmade and the hobbyist. This particular work features hand-carved cricket bats, a strange plant or branch with woollen blossoms and a tusk-like form resting on wooden blocks like a samurai sword. The work blurs references to Japanese cultural practices such as ikebana (ornamental flower arranging), the very British pastime of cricket (the slowest of all games) and hobbies such as making woollen pompoms. It is a sculpture about sculpture, yet its humour stops it from becoming tautological or pompous.

12 Ane Hjort Guttu Freedom Requires Free People (2011) Freedom Requires Free People is a documentary about eight- year-old Jens’s experiences at a Norwegian primary school. Jens is frank in his disgruntlement about being forced to follow prescribed rules, describing strategies that he employs in his pur- suit of freedom. For him, going to school and being told what to do is ’like being in hell… it’s like being in Ancient Egypt when they built those bloody pyramids.’ Long regarded as a leading example of liberal policy in practice, Scandinavian schools have been used as an ideal educational model in several foreign countries. Jens’s

13 anarchistic questioning of their rules raises broader questions of critical thinking within educational systems and society as a whole.

Gaspar Libedinsky Vitraux (2011) Evoking the histories of minimal and colour-field painting, Gaspar Libedinsky’s Vitraux is actually a tapestry made from sixty-four rags. These rags are called “trapitos” and are used in Buenos Aires by people who help drivers to find a parking space and keep an eye on the parked cars. Such informal workers have become known themselves as “trapitos”, as if the rags that they use to signal to drivers have become interchangeable with the people themselves – as if they were their uniform. The artist explains: “For eight months, each time I parked my car and a trapito offered to look after it, I would propose tipping him a little extra in exchange 14 for his rag. “How can I keep working if you’ve got my rag?” was the instinctive response, confirming that without that piece of domestic cloth he would be bared of his identity.” The resulting work becomes a “textile map” generated from sixty-four acts of

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negotiation, sixty-four transactions. It measures 5 x 2.5 meters, the amount of space allocated for a parked car.

Bruno Peinado Sans titre, California’s Dreaming Game Over (2007) Sans titre, California’s System, Game Over is a series of mono-­ chrome, wall-mounted sculptures. They reference minimalist art­ works such as the sculptures of John McCracken or Donald Judd. In keeping with such a tradition, Bruno Peinado’s sculptures are industrially constructed in aluminium and then uniformly spray-painted. However, they reject formalist perfection: their otherwise immaculate surfaces appear to have been involved in

15 a minor car crash, with each form crumpled in a different way. Peinado thus re-injects the humour and absurdity of real life into the sacralised world of the white cube.

Hans Schabus In Search Of The Endless Column/Hans (1996-2006) Hans Schabus’ photographic installation is a highly personal take on the portrait of the artist at work. Titled In Search of the Endless Column/Hans, the work makes explicit reference to Brancusi – one of the “fathers” of contemporary sculpture – and yet what we see are snapshots of the artist asleep (or unconscious) in a variety of locations. They were taken by various friends during drunken nights out and only brought together later by Schabus, when he learned of their existence. A light-hearted take on Mladen Stilinović’s self-portrait asleep (titled Artist at Work, 1978), the 16 piece speaks of action and inaction, dreams and ambitions, and the reality of the artist’s life.

Pilvi Takala The Trainee (2008) For The Trainee, under the guise of being an intern in a large consulting firm, Pilvi Takala secretly filmed her unusual behaviour and the reactions it provoked. For example, she spent one day in the lift and when colleagues asked in amazement what she was doing, she replied that it helped her to think. When she sat all day behind an empty desk and colleagues asked whether she needed something to do, she answered that she was busy with “brain work.” The resulting film and installation documents how her inaction caused total consternation in a corporate environment shaped entirely by the logic of productivity and in which people act “busy” at all times. 17

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Pilvi Takala with Eastside & Tredegar Under 13’s Youth Group, London Five Star Bouncy House (2014) - new production The Five Star Bouncy House it is not actually a work of art, but a project created by a group of children in London with whom Pilvi Takala worked over a period of several weeks. Winner of the Emdash Award, a prize of 7,000 Pounds given at the time of the Frieze Art Fair, Takala decided that instead of using this money to create an artwork, she would give it to a group of children and let them decide how to spend it. Working with a group of children under 13 in an after-school club in London, she initiated a series of discussions in which they had to work out how to make a collective decision about this large sum of money. After much debate, they 18 decided that it was more interesting to make something than to buy something – a refreshing revelation in the increasingly consumerist society in the UK – and they designed a bouncy castle that also came with its own business model: it could be hired out to create an income. PLAY TIME presents this bouncy castle to the public and invites them to play in the patio of the museum.

Koki Tanaka Everything is Everything (2006) Everything is Everything was made by Koki Tanaka when he travelled to Taiwan to take part in the 2006 Taipei Biennial. Arriving in a country known for its cheap plastic consumer goods, he created a sequence of filmic vignettes in which store-bought objects are juxtaposed with one another, or transformed by minimal interventions and animations. The pleasure and inventiveness of Tanaka’s process is evident in the piece, which recalls the delight with which children play with everyday objects. The piece makes 19 us look at the objects around us with fresh eyes and to consider the creative process again from a new perspective. An extract of this video is visible sporadically on the giant screen of 4bis/CRIJ Bretagne.

Thomas Tudoux Promenade (2011) Promenade is a series of 14 drawings that Thomas Tudoux made from photos he took in various public parks. His photographs – and then his drawings – frame a number of different pieces of sports equipment, which are intended to encourage people to exercise in public. Tudoux has altered the colours of these installations to resemble the colours used in children’s playgrounds, and his drawings are intentionally naïve, made using colour pencils. This series reflects on the way that a space formerly dedicated to the leisurely promenade is now transformed into a space for more 20 dynamic exercise: relaxation makes way for body building…

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Sieste (2014) - new production Promenade’s complementary series Sieste looks at how public space is increasingly designed to prevent us from resting. Taking as his example the interventions that discourage the homeless from sleeping in shop doorways or on public benches, Tudoux’s series of ten drawings is an innocuous portrait of a highly cynical shaping of public space, in which fewer non-productive (or non- commercial) activities are tolerated.

Complexes de Décubitus (2013-2014) Complexes de Décubitus is a rather surreal series of works by Thomas Tudoux. Taking as his starting point the medical term “complications of decubitus” – which refers to the physical problems that can occur if one spends too long in bed – Tudoux examines through his drawings the contradictory images and associations (not to mention, the complexes) which we associate with being in bed. The bed as a place of repose or pleasure is 21 fused in his rather nightmarish imagery with a place of illness or restraint. In the drawings that make up his first study (subtitled Etude, 2013), the figures trapped in the bars of his beds are taken from nursing manuals. In the later drawings (subtitled Répertoire, 2014), his subject is rather rest: whether it be for pleasure, out of laziness, or as an act of resistance.

Cosima von Bonin Idler #124 (The Passive Aggressive Version) (2011) Idler #124 (The Passive Aggressive Version) is a sculpture fea- turing a comic character sat atop an umpire’s chair. If his position – his chin in his hand – recalls obliquely Rodin’s Thinker, this char- 22 acter’s vacant expression suggests he is not exactly thinking very deeply. Instead he is dreaming, but perhaps dreaming dishonest dreams, if his Pinnochio nose is any indication. First installed in public space, this idler was sat in front of the largest bank in Vienna, at the peak of the banking crisis, a veiled criticism perhaps of the capitalist approach to work.

Nothing #09 (Door Slamming Festival) (2010) Nothing #09 (Door Slamming Festival) appears at first to take the form of a painting: a stretched canvas, hung on the wall. However, the figure it features is in fact sewn onto an assemblage of found fabrics: a woollen blanket and a collection of cotton rags. A reclining figure is depicted lazily smoking a cigarette, and the means of his depiction – sewing – calls to mind the traditionally female pastime of embroidery, once encouraged as a means to keep idle hands

23 out of trouble.

28 PLAY TIME at the Frac 05 Bretagne

Work as Play, Art as Thought

Taking its title from a work from 1974 by Robert Filliou, this group exhibition presents artworks that engage with the world of work. Filliou (1926-1987) considered daily activities such as talking, drinking and playing to be art. The exhibition features a range of works that draw upon this philosophy. In the first gallery, there is an emphasis on the pleasures of creating work, whether as a solitary process in the studio, or as a collaborative process elsewhere. The second gallery presents work that explores the struggle of the artist, not without a good dose of irony and humour. And the third gallery shows works in Read more: www.lesateliersderennes.fr which the artist adopts an alternative role as a way to engage > The 4th edition with society. The connecting theme throughout the exhibition, > PLAY TIME, the venues however, is the value of art, the value of the work of an artist.

Created in 1981 by the French state and the Brittany region, the Regional fund of contemporary art Brittany (Frac Bretagne) represents a contemporary collection of more than 4700 artworks. This important collection has been exhibited not only in Brittany but also in various venues across France and abroad. In 2012, the Frac Bretagne opened its doors to the public in a brand new building designed by Odile Decq The architectural structure is centred around a light shaft that cuts through the building, around which are articulated three galeries, an auditorium, a library and workshop areas. Within its walls, as well as throughout the region, the Frac Bretagne invites visitors to discover contemporary creation and engage closely with artworks through a combined programme of temporary exhibitions, meetings with artists, conferences, and educational and outreach events.

Frac Bretagne 19 avenue André Mussat CS 81 123 - F-35011 Rennes cedex t. +33 (0)2 99 37 37 93 [email protected] / www.fracbretagne.fr

The Frac Bretagne receives the support of the regional council of Brittany, the culture and Frac Bretagne, Rennes © Odile Decq / ADAGP Paris 2014 communication ministry (DRAC Bretagne) and the city of Rennes. The Frac Bretagne is a member Crédit photo : Roland Halbe /Région Bretagne of Platform, an association that brings together all the Regional funds of contemporary art. Views of Work as Play, Art as Thought - PLAY TIME at Frac Bretagne © Aurélien Mole for PLAY TIME Views of Work as Play, Art as Thought - PLAY TIME at Frac Bretagne © Aurélien Mole for PLAY TIME PLAY TIME at the Frac Bretagne 05 Work as Play, Art as Thought

Artworks presented

Michael Beutler The Garden (2011) The Garden is a large sculptural installation that comprises – as is often the case with Michael Beutler’s work – the tools used to create the final piece. It was first made for the Haus der Kunst in Munich, and combines the artist’s observations of its architecture with a reference to a childhood game called Fortune Teller. In this game, a folded piece of paper opens and closes to reveal numerous answers to any given question. When visiting the Haus der Kunst, Beutler was struck by the different sizes of floor tiles used to influence the speed at which one moves through the space. He devised a press built from squares that were the same dimension as the gallery floor tiles (50 x 50 cm), which pleats large sheets of paper like a waffle iron. Beutler’s project thus transforms the flat pattern of the floor into a three-dimensional sculptural form in an act of architectural origami. His three words used to describe the project were “surface cracking device,” but the possible outcomes of his ingenious device are as endless as those predicted by the Fortune Teller. 24

Jimmie Durham Smashing (2004) The video Smashing documents a performance carried out by Jimmie Durham at the Fondazione Antonio Ratti in Como, Italy. Sitting behind a desk, wearing a suit and tie, over the course of an hour and a half, Durham systematically smashes a sequence of objects brought to him one-by-one by students, crushing them with a prehistoric stone. The “office” becomes increasingly overwhelmed by detritus as the action continues. He stamps and signs a receipt for each object destroyed, in a gesture at once reminiscent of boring bureaucracy and the validating documents of conceptual art. The work has a total seriousness, which is 25 undercut by an awareness of its own absurdity. The artist plays the role of some kind of administrative Shiva, presiding over destruction that is also creation.

Aphrodite Unchained (2014) - new production Jimmie Durham has a rather destructive engagement with the readymade. For PLAY TIME, he has been smashing objects again. Using a reproduction Greek head – depicting Aphrodite – he smashed a porcelain vase, and presents us with the tool and the detritus. When Zoë Gray asked him what he liked so much about these broken porcelain fragments, the artist replied: “they just have such a great formalist, sculptural energy.”

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Robert Filliou Work as Play, Art as Thought (1974) This work by Robert Filliou – the oldest work in PLAY TIME – plays with the forms and codes of painting to expand the field of visual art. It is composed of five stretchers suspended from a wooden bar that is attached to the wall. Two of the stretchers are covered with white canvas. On the left-hand stretcher we can read Work as play. On the central stretcher, we can read Here Thought = Awareness = Learning Process… And on each of 27 the canvases, the face of the artist appears from whose mouth a speech bubble emerges, saying Art as thought. This condensation of art to its fundamental essentials takes as its starting principle the idea that work as art can be the equivalent to thought as play. According to the critic Patrick Javault, Filliou’s aim was to reconcile the brain and the hand, “proving one might think with things, by manipulating, turning, dismounting them, as much as with words.” Such an approach can be seen in many of the works presented at the Frac, which is why Filliou’s work is used as an introduction to the first gallery and its titled adopted as the title of the exhibition.

Marianne Flotron Work (2011) To create the video installation Work, Mariannne Flotron collaborated with Hector Aristizabal, a Colombian theatre-maker, who introduced methods adapted from Agusto Boal’s Theatre of the Oppressed into the context of a Dutch insurance company. This company prides itself on the openness and flexibility that it affords its employees, most of whom seem happy with the limited freedoms on offer (for example, being allowed to read the newspaper while at the office, or to telecommute). Flotron 28 filmed a workshop and rehearsals held by Aristizabal, capturing the other staff’s reactions to the project. In one of the four videos presented, Aristizabal summarizes the project: “What are we doing in this skyscraper of the corporate Netherlands, the corporate world? […] The idea was: can we bring this tool to ask questions to a place where apparently no one is asking questions especially questions about themselves, about what work means for them, about weather they are working too hard or not, about weather work is functioning in their lives, about if work is connected to the larger structures in society. So, we brought the techniques here and from two thousand employees, we had one employee who said: ’Yes, I am going to explore’.”

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Ane Hjort Guttu How to Become a Non-Artist (2007) How to Become a Non-Artist is a project Ane Hjort Guttu carried out with her four-year-old son. Together they investigated what could comprise an artwork, with her son creating various “installations” around the house. Documented as a narrated slideshow, the work explores the heritage of the readymade from a very personal and humorous angle.

Gaspar Libedinsky Mister Trapo (2011-2013) Gaspar Libedinsky’s Mister Trapo is rooted in his observation and celebration of the industrial working-class of Buenos Aires. Argentina has what could be called an extraordinary “rag culture” for domestic tasks. A plethora of home supply stores and supermarkets sell an endless variety of cotton rags for the home, each with its own design and designated function: floor rags, flannel rags, dishrags, kitchen towels etc. In a reversal of the typical process in which our worn clothing is used as a cleaning rag, Libedinsky made a series of “uniforms” from this wide palette of rags, outfits suggesting a professional or leisure activity. For the artist, this was a process of revealing what he sees as their inherent desire or ambition: “The Carrefour-brand beehive-pattern floor rag clearly wanted to be a cardigan sweater. The Media Naranja-brand flannel cloth from Jumbo supermarket asked to be made into a coat. The professional dishcloth was fated to be an English-style sports set, while the table rag wanted to be made into a shawl. The floor rag was just right for a reversible outfit: an elegant pinstriped suit with textile on one side, or a casual jean 30 outfit when the side bearing the hexagonal weave is exposed.”

Erik van Lieshout Commission (2011) Commission was made over the course of 2010 when Erik van Lieshout carried out an unorthodox residency in a Rotterdam shopping mall. Initially commissioned to make a film about the mall, he found himself frustrated at every turn by the mall’s policy against filming. He therefore decided to open a “shop” in order to integrate into the society of shopkeepers and to make contact with shoppers. Instead of selling merchandise, Van Lieshout adopted the slogan “Real luxury is buying nothing” and used his shop

31 space as a place to meet people, make artwork and discuss ideas. Throughout his time at the mall, he struggled with the suspicion and lack of understanding of the other shopkeepers, and wrestled with his own doubts about whether what he was doing should be considered art. The work touches upon social issues such as class, crime, consumerism and cultural regeneration.

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Filmed at a time when contemporary art was under brutal attack in the Dutch political arena as merely a “left-wing hobby,” Van Lieshout has described the film as his commentary “on the socio-political powerlessness of people and of art. It is also my quest for a home.”.

Gareth Moore An ultrasonic flute (2013-2014) Over the past ten years, various forms of shops or kiosks have been a recurring feature in Gareth Moore’s practice. From 2005-2006 in Vancouver, together with Jacob Gleeson, he ran St George Marsh, a shop stocked with found objects intermingled with artworks. In his mulit-part installation for dOCUMENTA, titled A place, near the buried canal (2012), a kiosk featured among the several small buildings he created in Kassel’s Karlsaue park, including a cabin in which he lived for several months, an inter-faith temple, an open-air cinema and a pension where visitors could stay overnight. Recently, figures have started to appear in his installations who seem to be selling their wares as if at a flea market or on the street. In An Ultrasonic Flute, an old waxwork figure sits inside a rudimentary kiosk, surrounded by his tools. He is a rat-catcher, but clearly has artistic aspirations and has made paintings using the coloured poisons of his trade, which he exhibits on fragile easels. The paintings depict different motifs such as mazes, landscapes, rat- related imagery and simple formal gestures, which all come from a mind obsessed with his other occupation. As the artist writes of his 32 waxwork stand-in: “He extinguishes, but he also creates.”

Oscar Murillo Welcome to the members club (2013) & Like animals meandering through the slaughterhouse (2014) - new production Welcome to the members’ club is a video Oscar Murillo shot in the sweet factory where many members of his family work in La Paila, Columbia. The camera meanders through the factory, capturing the repetitive actions of the workers but also surprising moments of beauty in the manufacturing process. His images neither romanticize nor criticize this working environment, but there is a 33 sense of self-questioning about his role as an artist: a role that had he not pursued (leaving Colombia to study in London) he might have also been a worker in this factory. The video is shown on a sequence of iMacs, reflective of the way in which most of us now consume film – as downloads at home or in the office. Murillo presents this video as part of an installation comprising new and existing elements. These include a series of paintings that blur the definition of the medium – their status somewhere

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between abstract expressionist canvas and raw material – and an installation of copper sheets that he has used as a working surface, which reveal the traces of his practice in their marked and worn patina.

Bruno Peinado Sans titre, looking for a certain ratio (2014) - new production Invited to create a new piece for this exhibition, Bruno Peinado created an installation that he described as, “monumental, baroque and theatrical”. Inspired by children’s games with building blocks, such as those created by Montessori for educative play, he created an assemblage of modular forms. Whereas usually such games feature identical units, Peinado’s ‘game’ presents an assemblage of diverse forms, textures and patterns. His composition explores notions of similarity and difference, the relationship between forms and the way that different patterns alter our understanding of shapes.

Hans Schabus Passagier (2000) In 2000, Hans Schabus installed a toy train track around the perimeter of his studio. Measuring some 55 metres, this loop was installed close to the ceiling, passing through holes cut into walls and doors to create a circuit outlining the artist’s workspace. He then installed a camera onto the train that ran around this track and filmed hourly circuits over the course of one day. The resulting film is at once monotonous and fascinating. Recalling the footage of train tracks that was often used as a late-night filler on commercial TV channels, the footage depicts a-day-in- the-life of the artist at work in his studio. However, it frustrates our voyeuristic desire by only revealing fragments of the “action.”

34 Zentrale (2001) Zentrale seems at first to be a more traditional documentary film: a portrait of the artist at work. However, it suddenly takes a rather film noir turn, when the artist is joined by his own doppelganger. The video emerges from the artist’s feeling of being chased by his own shadow, of being forced to confront himself through the process of creation. The accompanying and eponymous sculp- ture (also 2001) – a desk that would not seem out of place in a 1960s Bond film – appears in the film as the site at which the two versions of the artist meet. It also features a miniature train track that recreates the form of the one Hans Schabus installed in his studio for the work Passagier, in a playful mise-en-abyme of work- within-work, of studio-within-desk.

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Jay Tan Oh Tom! (2013-2014) Oh Tom! is an installation that comprises a clip of Tom Cruise lifting weights within a plasticine-covered shelving unit, folded clothes (which we feel may come from Tom’s locker), and a plastic Spar supermarket bag taped over an Ikea mirror. The piece touches upon notions of work, labour, and effort in a playful yet enigmatic way. It combines store-bought readymades with a skin of plasticine that is highly laborious in its modelling and application.

Resistance (2013-2014) Resistance is a sequence of exercise bands piled on the floor as if abandoned mid-workout. It has a throwaway quality that is at once liberating and provocative.

35 Koki Tanaka A Pottery Produced by Five Potters At Once (si- lent attempt) (2013) Koki Tanaka’s hour-long video A pottery produced by five potters at once (silent attempt) was shot in China, where Tanaka brought together a group of potters and asked them to make one pot simultaneously. The work draws upon other projects such as a collective haircut by nine hairdressers, the writing of one poem by five poets, or the grouping of five pianists around one piano (presented at Passerelle, Brest). In these works, Tanaka is intrigued to see what happens when the usually singular process of creation becomes collective or collaborative. How do the makers communicate with one another? What do they learn 36 about their own processes of making and working?

precarious tasks #12 Walking with dogs (2014) - new production Koki Tanaka visited Rennes in the autumn of 2013 and spent some time getting to know the city’s history and cultural institutions. He was struck by the French tradition of taking to the streets in protest (something which is rare in his native Japan) and decided to propose a project that could be read as a protest for leisure. Titled precarious tasks #12 Walking with dogs, this project takes place on Sunday 5th October, when Tanaka invites the inhabitants of Rennes to gather at the Museum of Fine Arts with their dogs. The animals and their owners will then walk together to the Frac Bretagne. With this project, Tanaka transforms a protest march it into a Sunday stroll for canines and their owners. He says: “Walk- ing a dog is an action shared by rich and poor alike, and this walk will allow different publics to meet and talk along the way.”

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Tehnica Schweiz & Katarina Šević Alfred Palestra (2014) - new production Performance: Wednesday 19 November, between 18:00 – 21:00. See page 48 for details. Alfred Palestra is a site-specific performative exhibition taking place at the Lycée Emile Zola and developed together with a group of its students. When the artists visited Rennes in December 2013, they were struck by the coincidence of two important histories, whose paths cross at the site of the Lycée: the birth of the avant-garde – through the presence of Alfred Jarry as a pupil – and the crisis of the Republic – through the second trial of Alfred Dreyfus that took place there. At that time, the school was an elitist Napoleonic academy, which counted Jarry amongst its alumni. The eponymous character of his play Ubu Roi (1896) was apparently based upon one of his teachers there. This gave the artists the idea to create a performance based on the the texts read by Dreyfus during his captivity and the bibliography of Doctor Faustroll, Jarry’s travelling protagonist of the eponymous novel. The title of their piece evokes the presence of these two very different Alfreds and the notion of the palestra, which in Ancient

37 Greece was the site for wrestling or other sports. Their project, however, presents wrestling of a more philosophical nature, as they attempt to explore with the students the charged history of this particular site. Prior to the performances and afterwards, the props made by the artists are part of the exhibition at the Frac Bretagne. Portable structures inspired by the artists’ research in the Dreyfus affair, they include objects such as a bed resembling the bed to which Dreyfus was shackled during part of his captivity on Devil’s Island, and an object evoking the moment in which his sword was snapped in half, as a symbol of his demotion.

Thomas Tudoux Stress (2010) As a counterpart to his pencil works on paper shown at the Museum of Fine Arts, at the Frac Bretagne Thomas Tudoux presents Stress, a pencil that reveals the traces of the artist’s neurotic way of working: his tooth marks. It is presented in a vitrine, almost as if it were a reliquary – a humorous take on the sacralisation of the artist.

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38 PLAY TIME Image captions

PLAY TIME at the Halle PLAY TIME at the Museum of Fine Arts de la Courrouze of Rennes

1 - Lilian Bourgeat 10 - Nicolas Chardon Banc public, proposal for a hole for GOGOLF Magnétiques, 2004 © Lilian Bourgeat Collection Frac Bretagne. © ADAGP 2014 2 - Florence Doléac Merci, au revoir et à bientôt, proposal for a hole for GOGOLF 11 - François Curlet © Marc Domage Architecture Fainéante, 2003 © collection Fonds de dotation Famille Moulin, Paris 3 - Sam Curtis Did anyone ever tell you you’re beautiful when you’re following 12 - Dewar & Gicquel orders?, 2013 La Couleur Verte Détachée De La Montagne Suit Le © Luis F. Vargas & Sam Curtis Mouvement De La Truite Prise (Sekite Hara), 2005 Installation shot from “Offshore”, group show at Espace 4 - Priscila Fernandes Paul Ricard. Bought from Galerie Loevenbruck in 2006 For a Better World, 2012 Centre national des arts plastiques © Priscila Fernandes © Dewar & Gicquel / CNAP / photo: Marc Domage

5 - Fucking Good Art – Rob Hamelijnck & Nienke Terpsma 13 - Ane Hjort Guttu Fucking Good Art # 31 - It’s play time, 2014 Freedom Requires Free People, 2011 © Fucking Good Art Courtesy Ane Hjort Guttu © Marte Vold 6 - Maider López Piscine Saint-Georges, 2014 14 - Gaspar Libedinsky © Maider López Vitraux, 2011 © Gaspar Libedinsky 7 - Erwan Mével Kiosque Courrouze, 2014 15 - Bruno Peinado © Erwan Mével Sans titre, California’s System, Game Over, 2006 View of the exhibition “Radicale buissonance”, 8 - Rivane Neuenschwander & Cao Guimarães FRAC des Pays de la Loire, Carquefou, 2007 Quarta-feira de cinzas /Epilogue, 2006 Courtesy gallery Loevenbruck, Paris Courtesy Rivane Neuenschwander; Stephen Friedman Gallery, © ADAGP, Paris / Photo: Marc Domage London; Galeria Fortes Vilaça, São Paulo & Tanya Bonakdar Gallery, New York 16 - Hans Schabus © Rivane Neuenschwander In Search Of The Endless Column/Hans, 1996-2006 Courtesy Hans Schabus & Galerie Jocelyn Wolff, Paris 9 - Pilvi Takala Real Snow White, 2009 17 - Pilvi Takala Courtesy Pilvi Takala & Carlos/Ishikawa, London The Trainee, 2008 © Carlos/Ishikawa, London Courtesy Pilvi Takala & Carlos/Ishikawa, London © Pilvi Takala

18 - Pilvi Takala with Eastside & Tredegar Under 13’s Youth Group Five Star Bouncy House, 2013-2014 Working drawing

39 19 - Koki Tanaka 29 - Ane Hjort Guttu Everything is Everything, 2006 How to Become a Non-Artist, 2007 Courtesy Koki Tanaka, Vitamin Creative Space, Guangzhou © Ane Hjort Guttu & Aoyama Meguro, Tokyo 30 - Gaspar Libedinsky 20 - Thomas Tudoux Mister Trapo, Paño Lienzo / Guayabera, 2011-2014 Promenade, 2011 © Gaspar Libedinsky Production: PianoNobile, Geneva © Thomas Tudoux 31 - Erik van Lieshout Commission, 2011 21 - Thomas Tudoux Courtesy Scuplture International Rotterdam & Hart van Zuid, Complexe de Décubitus, 2013-2014 2010-2011 Décubitus (études) © Thomas Tudoux 32 - Gareth Moore An Ultrasonic Flute, 2013-2014 22 - Cosima von Bonin Courtesy Lüttgenmeijer, Berlin Idler #124 (The Passive Aggressive Version), 2011 © Sebastian Schobbert Courtesy Cosima von Bonin & Petzel Gallery, New York © Lamay Photo 33 - Oscar Murillo Welcome to the members’ club, 2013 23 - Cosima von Bonin Courtesy Oscar Murillo, David Zwirner, New York/London Nothing #09 (Door Slamming Festival), 2010 and Carlos/Ishikawa, London Courtesy Cosima von Bonin & Petzel Gallery, New York 34 - Hans Schabus Zentrale, 2001 View of the installation: Centre pour L’image Contemporaine, PLAY TIME at the Frac Bretagne Geneva Courtesy Hans Schabus & Gallery Jocelyn Wolff, Paris

24 - Michael Beutler 35 - Jay Tan The Garden, 2011 Oh Tom!, 2013-2014 Courtesy Michael Beutler & Gallery Bärbel Grässlin, Frankfurt © Trapez Gallery am Main © Wolfgang Petzi 36 - Koki Tanaka A Pottery Produced by 5 Potters at Once (Silent Attempt), 25 - Jimmie Durham 2013 Smashing, 2004 Commissioned by the Japan Foundation Vitamin Creative Courtesy Jimmie Durham & Michel Rein, Paris/Brussels Space, Guangzhou and Beijing, and Aoyama Meguro, Tokyo

26 - Jimmie Durham 37 - Tehnica Schweiz & Katarina Šević Aphrodite Unchained, 2014 Alfred Palestra: The Bag, 2014 Courtesy Jimmie Durham © Katarina Šević and Tehnica Schweiz

27 - Robert Filliou 38 - Thomas Tudoux Work as Play, Art as Thought, 1974 Stress, 2010 Collection Frac Poitou-Charentes © Thomas Tudoux © Richard Porteau

28 - Marianne Flotron Work, 2011 Produced and supported by Kunsthalle Bern, Philippe Pirotte, C. & G. Ertle-Ketterer, Mondriaan Foundation & Rijksakademie van beeldende kunsten © Marianne Flotron

40 Associated 06 exhibitions

For this 4th edition, a new form of collaboration has been estab- lished with a number of partner venues in Rennes and beyond, based on exchange and dialogue, and shaped by the diverse identities and programmes of each partner venue.

Each of the following venues presents a solo exhibition of an artist also included in the group shows of PLAY TIME, chosen by Zoë Gray together with the venues’ artistic directors.

Complementing and extending PLAY TIME, these six mono- graphic exhibitions give the public a chance to see in depth the work of several artists.

Read more: www.lesateliersderennes.fr > The 4th edition > Associated exhibitions 06 Associated exhibitions

Oscar Murillo · 40mcube Fucking Good Art · Le Cabinet du livre d’artiste Gareth Moore · La Criée centre d’art contemporain Priscila Fernandes · Phakt Centre Culturel Colombier Koki Tanaka · Passerelle Centre d’art contemporain (Brest) Ane Hjort Guttu · Le Quartier Centre d’art contemporain (Quimper)

Openings

Thursday, 25 September

Opening sequence of associated exhibitions in Rennes 17:00 - Fucking Good Art, Fantôme Library, Cabinet du livre d’artiste 18:00 - Gareth Moore, Household Temple Yard, La Criée centre d’art contemporain 19:00 - Priscila Fernandes, Ces salopards en casquettes venus se divertir et se reposer au bord de la mer au lieu de continuer à travailler à l’usine, Phakt Centre Culturel Colombier 20:00 - Oscar Murillo, An average work rate with a failed goal, 40mcube - In the presence of the artists. Free entry.

Saturday, 27 September

18:00 - Opening at Passerelle Koki Tanaka, A Piano Played by Five Pianists at Once (First Attempt) Passerelle, Centre d’art contemporain, Brest

Friday, 3 October

18:30 - Opening Le Quartier Ane Hjort Guttu, Urbanisme Unitaire Le Quartier Centre d’art contemporain, Quimper

42 06 Associated exhibitions

Oscar Murillo An average work rate with a failed goal 40mcube 26 September – 29 November 2014 Curated by 40mcube

Oscar Murillo is a painter, a sculptor and a video artist. He regularly uses the exhibition space as a studio where he creates his works and even sometimes presents them unfinished. Considering the studio as a production site as

Oscar Murillo well as a place full of life, he constantly brings his practice If I was to draw a line, this journey started approximately 400 km north of the equator, and leisure or working activities face to face. 2013. Installation view from South London Gallery. Photo: Mark Blower. Courtesy of the artist & David Zwirner (New York, London). For his solo show at 40mcube, Oscar Murillo presents a new series of paintings, sculptures, videos and organizes a continuous performance during the exhibition.

Oscar Murillo was born in 1986 in La Paila (Colombia), before moving to London with his family aged 10. He graduated from Westminster University and obtained an MFA from the Royal College of Art. He currently lives and works in London.

Founded in 2001, 40mcube is an exhibition space, an office of organisation for contemporary art projects, an artists-in-residence space and a studio for art production. 40mcube’s principal activity is art production, where there exists a close interaction with the artist through all aspects of the pro- cess, including its feasability, technique, fabrication, up until the presentation of solo shows and their public mediation.

40mcube This process of production and the work with the artists is made 48, avenue Sergent-Maginot through a reflection on contemporary art, which is further shown 35000 Rennes through group shows and 40mcube’s editions. T. +33(0)2 90 09 64 11 / [email protected] 40mcube occupies an industrial building that includes an exhibi- www.40mcube.org 2 - tion space of 170 m , a Black Room dedicated to an international From tuesday to Saturday, 14:00 – 18:00. films programming and a studio for artists-in-residence and art 2 Closed on Mondays and bank holidays. production, which all exists on a plot of 1100 m conceived as a Free entry. sculpture park. Accessible for disabled visitors. 40mcube also organizes projects in the public space and in partner Groups welcome upon reservation. places, and helps private individuals, companies and administrations to form a collection or to order a new work of art.

40mcube receives the support of the Ministry of Culture and Communication - Drac Bretagne, of the Regional Council of Brittany, of the General Council of the Departement d’Ile-et-Vilaine, and of the city of Rennes. It also benefits from the support of Art Norac.

43 06 Associated exhibitions

Fucking Good Art Fantôme Library 10 years Fucking Good Art Library of gifts & exchanges Cabinet du livre d’artiste 26 September – 18 December 2014 Curated by the Cabinet du livre d’artiste

The Cabinet du livre d’artiste presents a retrospective of ten years of the nomadic artists’ magazine Fucking Good Art, by Rotterdam based artists and editors Nienke Terpsma

Fucking Good Art and Robert Hamelijnck. As amateur ethnographers they in selfless service to our community~ Stamp on FGA#29 study the contemporary art field; its local-, counter- and sub-cultures; self-organisation, DIY strategies and models outside the art market.

Their oeuvre will be shown together with a phantom library of artists’ books, (maga)zines and editions collected by FGA as gifts or by exchange, and installed as a permanent artistic intervention that merges into the collection of the Cabinet.

Founded in 2000, Editions Incertain Sens are a publishing program and research around artist’s books. Since 2006, they initiated the Cabinet du livre d’artiste - specialized library, reading device and exhibition. Their objective is to encourage this new way of making art through artist’s book, to support its production and to defend its presence in editorial and artistic culture. Born in an academic context, the Editions Incertain Sens and the Cabinet du livre d’artiste encourage Cabinet du livre d’artiste / éditions Incertain Sens researches in aesthetics, documentation and history of artist’s Université Rennes 2 | Campus Villejean - Bât. Érève books, and make their results available to everyone: the stock Place du recteur Henri Le Moal - 35043 Rennes of books (more than 3000 titles), exhibitions, conferences, and T. +33(0)2 99 14 15 86 / [email protected] Incertain Sens’s own publications, and especially the review www.incertain-sens.org Sans niveau ni mètre. Journal du Cabinet du livre d’artiste. - Open Monday – Thursday, 11:00 – 17:00 and by reservation. The association is supported by the University of Rennes 2, the Region of Brittany, Free access to the collection. the Ministry of Culture and Communication - Drac Bretagne, of the city of Rennes, and its members. Accessible for disabled visitors.

44 06 Associated exhibitions

Gareth Moore Household Temple Yard La Criée centre for contemporary art 25 September - 30 November 2014 Curator: Sophie Kaplan

Through his works, Gareth Moore questions and reconsti- tutes the status of found materials and objects, seeking to acknowledge the margins of authorship within the produc- tion of a work of art. His work dislodges the distinctions between art and everyday activity, creating sculptural nar- ratives that are enacted materially and socially. Employing a careful economy of means, Moore extends the capacity for value and meaning within objects that are otherwise discreet, reflecting an interest in the recovery of that which goes discarded or unnoticed.

Moore offers with this exhibition a sculptural interpretation of sacred ritual practices, while equating such practices with that of art, both of which are processes in the production Gareth Moore StGl-013, 2013 of meaning. In doing so he also looks into the spiritual and Steel, glass, buttermilk with food colouring, glue, plywood 68,5 x 66 x 33 cm commercial value, whether real or projected, of the work of art. Courtesy Catriona Jeffries Gallery, Vancouver

Located in the heart of the city of Rennes, in the building of the central covered market, La Criée centre for contemporary art is an exhibition space dedicated to research, production and diffusion of French and foreign artists’ works, emerging or recognized. Open to a wider audience, La Criée is a place to invent and reflect the artistic forms of today and tomorrow, and the uses of its forms. Each season, the art center designed an ambitious program, which intersect artistic events and projects that address the issues and La Criée centre for contemporary art objectives of exhibition, research, international outreach and Place Honoré Commeurec - halles centrales - 35000 Rennes sustainable territorial embedding practices. T. +33(0)2 23 62 25 10 / [email protected] / www.criee.org - With its four creative activity platforms (Art at the center – Looking Free admission. to the future – On continental shores – Territories in the making), Monday – Friday, 12:00 – 19:00 La Criée offers to the public the experience of artistic opening with Week-ends: 14:00 – 19:00 – Closed on Mondays. exhibitions, artists residencies, the organisation of conferences, st th Open on November 1 and 11 , 2014. seminars, workshops, meetings and publications. Accessible for disabled visitors.

La Criée, a City of Rennes cultural establishment, is backed by the Brittany Regional Cultural Affairs Board of the Ministry of Culture and Communication (DRAC Bretagne), the Brittany Region and the Ille-et-Vilaine département.

45 06 Associated exhibitions

Priscila Fernandes Ces salopards en casquettes venus se divertir et se reposer au bord de la mer au lieu de continuer à travailler à l’usine Phakt Centre Culturel Colombier 26 September - 29 November 2014 Curated by Phakt

For the Phakt - Centre Culturel Colombier, Priscila Fernandes (young artist of portuguese origin, currently living in Rotterdam) creates a work in-situ, at the crossroads of her current aesthetic research, questioning the emergence of leisure and the thoughts and social, political and artistic movements of the end of the 19th century and beginning of the 20th century.

This project enters into a contemporary, mixed media dialogue between the gallery space and its modularity, the idea and evolution of free time in France (bourgeois and then popular Priscila Fernandes tourism) as well as certain neo-impressionistic approaches Arc en ciel, work in progress, 2014 between pictorial representation and political engagement.

The Phakt - Centre Culturel Colombier is an associative / non-profit cultural space supported by the city of Rennes with an artistic axis in the visual arts in relation to its territory. From three polarities: artworks and artists, learning and practices, culture and history of art and forms, it offers complementarities between contemporary art and art history, artistic works and prac- tices, aesthetic and artistic education, creation and mediation.

Phakt Centre Culturel Colombier It propose artistic events as exhibitions, residencies, curating, 5 place des Colombes - 35000 Rennes publications... with an ongoing production support and attention T. 02 99 65 19 70 / [email protected] / www.phakt.fr to young artists as well as all types of accompaniments: practical - workshops mediations, conferences, educational activities. Open Mondays - Fridays from 13:00 to 19:00. Free entry. The gallery programme of 5-6 exhibitions per year explores all Accessible for disabled visitors. media without forgetting the urban space: the question of urban context and in our thinking, and the ways artists are working, lead us to explore “in situ” propositions, the “outside the walls”, other spaces (private, semi-private…).

PHAKT - Centre Culturel Colombier works regulary with Art Schools in Brittany in close partnerships, and is treasurer of the Art Contemporary network in Brittany (A.C.B.).

46 06 Associated exhibitions

Koki Tanaka A Piano Played by Five Pianists at Once (First Attempt) Passerelle Centre d’art contemporain, Brest 27 September 2014 – 3 January 2015 Curator: Etienne Bernard

A Piano Played by Five Pianists at Once (First Attempt)’s scenario begins in a motion capture studio at University Koki Tanaka A Piano Played by Five Pianists at Once (First Attempt), 2012 of California in Irvine. Five pianists enter and sit at a table, Created with University Art Galleries, University of California, Irvine. while a film crew records the event on three cameras. What brought them together is neither a curricular obligation nor a shared interest in a specific musical genre. Rather, they arrive having answered a performative solicitation – circulated by Koki Tanaka – to compose and play a piece of music, simultaneously, on film.

Centre Passerelle Centre d’art contemporain is an exchange platform d’art between art production and audience set up since 1988 within contemporain an exceptional 4,000 m2 industrial building 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 Passerelle Centre d’art contemporain exhibitions featuring French and international artists, screenings, 41 rue Charles Berthelot F-29200 Brest lectures, debates and various means of assistance for the audience T. +33(0)2 98 43 34 95 / www.cac-passerelle.com in their discovery of techniques used and exhibited. - Open Tuesdays, Passerelle Centre d’art contemporain is also a cross-disciplinary Wednesday – Saturday, 14:00- 18:30. scene exploring other fields of the contemporary creation such as Closed on Sundays, Mondays and public holidays. design and performing arts.

Passerelle is supported by the City of Brest, Brest métropole océane, the Finistère département, the Brittany Region and the Brittany Regional Cultural Affairs Board of the Ministry of Culture and Communication (DRAC Bretagne).

47 06 Associated exhibitions

Ane Hjort Guttu Unitary Urbanism Le Quartier Centre d’art contemporain, Quimper 4 October 2014 – 4 January 2015 Curator: Keren Detton

Unitary Urbanism is the first exhibition in France of the Norwegian artist Ane Hjort Guttu. The exhibition “Unitary Urbanism” groups videos, sculptures and posters into an Ane Hjort Guttu ensemble of works that invites the viewer to consider the The View (The View Does Something to You), 2012 Silkscreen print aesthetics and politics of the contemporary city. Inspired by the subversive strategies of the Situationists at the turn of the 60’s, Guttu asks anew how the artist can contribute to new ways of seeing and inhabiting urban space.

Founded in 1990, Le Quartier is housed in the former army barracks in the Tour d’Auvergne. The building, which dates from 1874, is also home to the Quimper School of Art. Le Quartier functions both as a production hub for artists and a focal point for communication with the public. As a centre for exploration and experimentation, it provides concrete assistance with the creation of new works. Le Quartier’s activities revolve around three annual exhibitions and numerous shows in the Le Quartier Centre d’art contemporain ProjectRoom. 10 esplanade François Mitterrand - 29000 Quimper T. +33 (0)2 98 55 55 77 / www.le-quartier.net Keeping a close eye on developments in the work of established - artists and the emergence of new trends, the art centre maintains Open Tuesday - Saturday: 13:00 – 18:00. a broad generational span while working in both national and Sundays and public holidays, 14:00 – 18:00. inter­national contexts. Accompanied by screenings, talks and dis- Accessible to those with reduced mobility. cussions aimed at sharing and exchanging ideas and experiences, the exhibitions are also backed up by publications.

Le Quartier receives funding from the City of Quimper, the Brittany Regional Cultural Affairs Board of the Ministry of Culture and Communication (DRAC Bretagne), the Finistère département and the Brittany Region.

48 Programme 07 of events

A programme of events, performances, participatory actions, gatherings, lectures, etc are planned throughout the biennale, further enriching this focus on contemporary art in Brittany this autumn.

The programme is established together with a number of local partners, who we wish to thank for their collaboration, notably the Ecole Européenne Supérieure d’art de Bretagne (Brest, Lorient, Quimper, Rennes), the Night of 4 Thursdays (the city of Rennes), the OFF biennale and the University Rennes 2.

For more details, see the following pages or consult our site: www.lesateliersderennes.fr > 4th edition > Calendar & events 07 Programme of events

Opening week-end

Thursday 25 September Series of openings of the associated exhibitions in Rennes 17:00 - Fucking Good Art Fantôme Library at Cabinet du livre d’artiste 18:00 - Gareth Moore Household Temple Yard at La Criée centre d’art contemporain 19:00 - Priscila Fernandes Ces salopards en casquettes venus se divertir et se reposer au bord de la mer au lieu de continuer à travailler à l’usine at Phakt Centre Culturel Colombier 20:00 - Oscar Murillo An average work rate with a failed goal at 40mcube In the presence of the artists. Free entry.

Friday 26 September Opening of PLAY TIME

10:00 > 19:00 - Professional preview The three PLAY TIME exhibitions and the associated exhibitions in Rennes are open to professionals. By invitation only.

16:00 > 20:00 - Opening of PLAY TIME: Museum of Fine Arts of Rennes & Frac Bretagne By invitation only.

19:00 - Inauguration of PLAY TIME : Halle de la Courrouze By invitation only.

Saturday 27 September Opening and tour of the associated exhibition: Koki Tanaka, A Piano Played by Five Pianists at Once (First Attempt).

> 16:00 - Guided tour of the exhibition with the artist (in English) > 18:00 - Opening of the exhibition, in the presence of the artist - Passerelle, Centre d’art contemporain (Brest) Free entry.

15:00 - Exhibition tour of Household Temple Yard in the presence of the artist, Gareth Moore - La Criée centre d’art contemporain Free entry.

18:30 - Opening of the biennale OFF - LENDROIT Editions

50 07 Programme of events

During la biennale

Tuesday 30 September Study day: The rules of the game. From a participative art to a public work Organised by the University Rennes 2, under the guidance of Marion Hohlfeldt & Antje Kramer-Mallordy. > 9:00 - “Games and challenges of participatory installations”, theoretical analysis by invited researchers. > 14:30 - “The artist and his audiences”, presentations by Ane Hjort Guttu, Gergely Laszló (of the duo Tehnica Schweiz) & Koki Tanaka. - Frac Bretagne Auditorium In english & French. Free entry. Limited places available.

Thursday 2 October 18:30 - Les visiteurs du soir with Thomas Tudoux Artist’s talk followed by a conversation with the public. - Museum of Fine Arts of Rennes In French. Free entry.

Friday 3 October 18:30 - Opening of the associated exhibition: Ane Hjort Guttu, Urbanisme Unitaire In the presence of the artist. - Le Quartier Centre d'art contemporain (Quimper) Free entry.

Saturday 4 October First national days of the Friends Associations of the Fracs: In need of friends From 9:45: Workshops on the profile, identity and potential of Friends Associations of the Fracs. Visit of the PLAY TIME exhibition at the Frac Bretagne. Day organized by the Friends of the Frac Bretagne. - Frac Bretagne Entrance reserved to members of the Friends of the Fracs (to join, see: www.fracbretagne.fr > les Amis).

Sunday 5 October First national days of the Friends Associations of the Fracs: In need of friends Independent visit of the other exhibitions of the biennale. - Museum of Fine Arts of Rennes, Halle de la Courrouze, and the associated exhibitions. Entrance reserved to members of the Friends of the Fracs (to join, see: www.fracbretagne.fr > les Amis).

14:30 - Performance /collective activité by Koki Tanaka precarious tasks #12 Walking with dogs Koki Tanaka invites you to come with your dog (or your friends’ dog) to take part in a collective walk from the Museum of Fine Arts of Rennes to the Frac Bretagne. Those without dogs are also welcome! - Meeting point in front of the Museum of Fine Arts of Rennes. Free activity.

51 07 Programme of events

Thursday 9 October 12:00 - Lunch break ! Early opening (at midday instead of the usual 14:00) of the exhibition at the Halle de la Courrouze, with a guided tour given by one of the technical directors of the biennale. - La Halle de la Courrouze In French. Free activity on presentation of exhibition ticket or biennale pass. Limited places available.

Sunday 19 October Treasure hunt: L'entreprise dont vous êtes le héros The visitor is invited to follow a treasure hunt, based on the model of a Choose Your Own Ad- venture book. Leading the visitors around the Frac Bretagne, this game designed by Cléan Sa- lun, student at EESAB (Lorient), also refers to Kafka and the madhouse in the film The Twelve Tasks of Asterix. - Frac Bretagne, during usual opening hours (12:00 - 19:00). In French. Free activity on presentation of exhibition ticket or biennale pass. Limited places available.

Thursday 30 October 19:00 > 22:00 - The OFF in the « in » The OFF biennale takes over the Halle de la Courrouze for one evening, inserting an artistic programme within the Playground exhibition. An occasion to bring together the official biennale and its unofficial counterpart. Programme under construction. (For more information about the OFF biennale, see page 50). - Halle de la Courrouze Free entry.

Sunday 2 November 16:00 - Lecture: Laziness. History of a mortal sin by its author, André Rauch, emeritus professor at the University of Strasbourg and specialist in the history of leisure. In collaboration with the Museum of Brittany / Les Champs Libres, in connection with their exhibition Quand l’habit fait le moine (When the clothes make the man). - Museum of Fine Arts of Rennes In French. Free entry.

Tuesday 4 November 17:30 - Conversation between François Curlet and Jean-Marc Huitorel Dialogue between the artist who conceived GOGOLF and the Rennes-based art critic whose work has often explored the interactions between art and sport. - École européenne supérieure d'art de Bretagne - Site de Rennes In French. Free entry.

Thursday 6 November 19:00 - Lecture: Artistic playgrounds By art critic and historian Vincent Romagny, author of Anthologie, aires de jeux d’artistes (Infolio, 2010). - Frac Bretagne Auditorium In French. Free entry, limited places available.

52 07 Programme of events

Saturday 8 & 14:00 > 17:00 - PLAY TIME plays with LILICO and invites la Chuchoterie Sunday 9 November The chance for young visitors (aged 0-5 years) to discover and handle artists’ books created especially for children. - Halle de la Courrouze Free activity on presentation of exhibition ticket or biennale pass. Limited places available.

Thursday 13 November 20h > 00h - Nuit des 4 Jeudis: TIME TO PLAY Created by the city of Rennes, la Nuit des 4 Jeudis [The Night of 4 Thursdays] is a monthly event designed to introduce young people to a new type of night out. For this particular Thursday Night, the biennale has programmed a series of performances, performances and games imagined by the students of EESAB (European Art School of Brittany) and the ESC School of Business, together with young people of the Regional Federation of MJC (Youth Culture Centres) in Brittany. - La Halle de la Courrouze Free entry.

Saturday 15 & Exhibition: In the shoes of the commissioner Sunday 16 November As part of a competition amongst the employees of the Norac group, 13 teams came up with a brief for an artist to create a new artwork. They worked closely with one chosen artist each, as part of a moment of creation and recreation within their enterprises. Exhibition of the 13 projects and six artworks realized (artist / company): Karim Ould / Daunat Bretagne ; Jean-Marc Nicolas / NorPain ; Virginie Barré / Bergams ; Sylvie Ruaulx / Espanorac ; Serge Lhermitte / La Viennoiserie Ligérienne ; Matthieu Renard / Dessaint Food Service. Organised in partnership with the Frac Bretagne. - Exhibition space to be communicated online: www.lesateliersderennes.fr Free entry.

Tuesday 18 November 14:30 > 18:00 - IKT Lab : Curator without a parachute Independent curators invited to create biennales or large exhibtions are often described (somewhat pejoratively) as having been “parachuted” into a project. What is the impact of this practice on the local art scene, on the exhibitions they create, and on their curatorial practice? > Panel discussion 1: “Invited curators - travelling with their shells on their back” Participants: Laurence Gateau (director, Frac des Pays de la Loire, Carquefou); Florence Ostende (adjunct curator at Dallas Contemporary); Emilie Renard (director, La Galerie, Noisy-le-Sec). Moderated by Sophie Kaplan (in French). > Panel discussion 2: “ Curator from near or far? ” Participants: Nav Haq (curator, MuHKA, Antwerp); Xenia Kalpaktsoglou (codirector of the Anthens Biennale); Ralph Rugoff (director, Hayward Gallery, London and curator of the Lyon Biennale 2015). Moderated by Zoë Gray (in English). IKT Labs are a series of events initiated by members of IKT, the international association of curators of contemporary art. This IKT Lab is a collaboration between Les Ateliers de Rennes - contemporary art biennale, Frac Bretagne & La Criée, centre d’art contemporain. - Frac Bretagne Auditorium Free entry with reservation: [email protected]

53 07 Programme of events

Wednesday 19 November 18:00 > 21:00 - Alfred Palestra, Tehnica Schweiz & Katarina Šević Performative exhibition created with the amateur theatre group ZOLALA, run by Raphaël Gitton at the Lycée Émile Zola. (see page 39). - Cité scolaire Emile Zola, entrance: 6 rue Toullier. (Maximum of 50 visitors can be admitted at any one time). Free entry.

Wednesday 26 November 20:30 - Concert Rayon vert - Ghedalia Tazartes Invitated by Gareth Moore. - La Criée centre d’art contemporain Free entry.

Thursday 27 November 12:00 - Lunch break ! Early opening (at midday instead of the usual 14:00) of the exhibition at the Halle de la Courrouze, with a guided tour given by one of the technical directors of the biennale. - Free activity on presentation of exhibition ticket or biennale pass. Limited places available.

18:30 - Les visiteurs du soir with Bruno Peinado Artist’s talk followed by a conversation with the public. - Museum of Fine Arts of Rennes Free entry.

54 08 Collaborations

EESAB, the biennale’s partner school

For this 4th edition of Les Ateliers de Rennes, a new form of partnership was devised with the École européenne supérieure d’art de Bretagne which groups together the four art schools of the cities of Brest, Lorient, Quimper and Rennes.

A privileged time to work with the artists of PLAY TIME Three of the international artists invited by Zoë Gray share their experiences and ideas with the students of the EESAB: Michael Beutler works with nine students of the EESAB (Rennes) to assemble his installation The Garden at the Frac Bretagne; Koki Tanaka meets with students at the EESAB (Brest) on the occasion of the opening of the exhibition at Passerelle; and Oscar Murillo gives a workshop for the students of the EESAB (Rennes).

A time for sharing with the public The French artist François Curlet, who presents one of the key works of PLAY TIME, GOGOLF échelle 1, will be conversing with the art critic from Rennes, Jean-Marc Huitorel, on the subject of playfulness in his work (see events programme, Tuesday, 4 November).

TIME TO PLAY – Night of 4 Thursdays: focus on young talents The EESAB students were invited to propose an artistic intervention, designed for an event and an opportunity to meet with the public. Among the many projects submitted, 6 will be presented during the Night of the 4 Thursdays, 13 November in the Halle de la Courrouze.

LET'S PLAY, an exhibition echoing the biennale In response to PLAY TIME, LET’S PLAY (from 17 September to 24 October) presents the works of former students of the four sites of the EESAB in the cloister of the Rennes site. A return to school for these young artists, who will showcase their works, blending humour, playfulness and irony. With: Wilfrid Almendra, Jean-Marie Appriou, Charlène Auvinet, Romain Bobichon, Leslie Chaudet, Daniel Dewar & Grégory Gicquel, Maxime Davy, Cécile Gaillard, Camille Girard & Paul Brunet, Julien Gorgeart, Constance Hinfray, Brieg Huon, Rodolphe Keller, Samir Mougas, Arnaud Pearl, Guillaume Pellay, Hélène Thomas and Margot Wendeling.

Opening: Wednesday 17 September at 18:30. Open Monday to Friday, from 14:00 to 18:00. Free entry. 08 Collaborations

The biennale OFF

The biennale OFF grew out of the idea of bringing together the various venues for exhibiting contemporary art, galleries, studios, artists’ collectives, associations, and art schools to propose event in an effervescent artistic period during Les Ateliers de Rennes.

On the initiative of Michaël Chéneau and Erick Deroost, and later Damien Marchal, a collective was quickly formed. Fifteen structures from Rennes soon joined the collective to create and develop the first OFF biennale.

Thus far, with fourteen venues answering the call, the OFF 2014 continues to develop its project for this second edition and is making a place for itself in the landscape of Rennes by coming closer to Les Ateliers de Rennes, especially through the organisation of a jointly held evening: The OFF in the "in" on 30 October in the Halle de la Courrouze.

Program details: www.biennaleoff.fr

The structures participating in the biennale OFF

Association LAB (Libre Art Bitre), coordination structure Galerie MICA Galerie Nathalie Clouard Galerie Net Plus Galerie ONIRIS / Florent Paumelle Galerie Pictura Le Bon Accueil LENDROIT Éditions Le Triangle Le Musée de la danse & le CNAP Le Praticable Le Volume Mouvances Centre de Danse Contemporaine Passage 25 VIVARIUM

56 09 Outreach

A policy of enthusiasm!

2-phase approach During the preparatory phase of the biennale, various meetings were held with school children, social workers, student partners, enabling us from the outset to integrate many actors and partners in the creation of the project. During the biennale, a team of mediators is deployed to greet and inform exhibition visitors, to take large groups under their wing, ensure guided visits and accompany artistic workshops.

The biennale before the biennale Many meetings were organized to be able to bring the biennale to life well before it opens: the occasion for moments of sharing around the subject of contem- porary creation, with the Cleunay Social Centre, the Local Mission de Cleunay, the Fourneau Social Restaurant, The 3 Maisons Association, Archipel Habitat, the Management of Quartier Ouest, the CCAS of Cleunay, ADSAO, La Maison Relais Yves Maléfant, L'Escale, La Maison Relais Marie Heurtaut.

Diverse partnerships Our outreach programme was accompanied way upstream by the development of partnerships linked with the artistic programming of PLAY TIME, including: ›› The city of Rennes recreational centres ›› The Clôteaux elementary school ›› The Établissement Saint Martin Quartier Sainte-Geneviève ›› The Regional Federation of MJCs of Brittany ›› L'Aparté, Place of contemporary art ›› L'Association Tout Atout ›› The Socio-Therapeutic and Cultural Centre of the Guillaume Regnier Hospital Complex ›› The CLEMI, Centre for liaising of teaching information media ›› The Department of Visual Arts - University Rennes 2 ›› The Grand Cordel MJC ›› The Lycée Bréquigny ›› L'EESAB - sites of Brest, Lorient, Quimper and Rennes ›› L'ESC Rennes - School of Business ›› The ISFEC, Institute of Higher Learning of Catholic Teaching and Training ›› The Social Careers IUT - University Rennes 1 09 Outreach

The general public Guided visits of the PLAY TIME exhibitions Throughout the biennale, visitors will be able to take advantage of a free guided tour of the PLAY TIME exhibitions with a mediator. Booking not required (on the condition one has a ticket to the exhibition - for people over 18). Halle de la Courrouze Every Saturday, Sunday and national holiday at 14:30 and 16:00. Museum of Fine Arts of Rennes Every Saturday, Sunday at 14:30 and 16:00. Tuesday 7 October, 4 and 18 November at 12:15. Wednesday 8 October and 5 November at 15:30. Frac Bretagne Every Saturday and Sunday at 16:00 and every day at 16:00 during school holidays.

Guided group visits Booking required for groups of 10 to 25 people who wish to discover a play time exhibition with a mediator. Duration: 1 hour. Group rate: €50.

Visits for the visually and hearing impaired Descriptive and tactile visits and visits in French sign language available in each of the play time venues. Booking required.

Kids & families Visits/workshops For children (aged 5 and above) and adults: discover contemporary art. Activity free of charge (with the entry ticket - for people over 18)).

PLAY TIME play book For families, a play book (available upon request at each of the exhibitions), will enable participants to discover the exhibitions in a playful way (for children aged 5 and above). It brings together all the places involved in the biennale and invites you to wander through the exhibitions at your own pace and to have fun with the works of art. (In French only)

For school children Play time at school Playing and working (simultaneously) is possible! A specific offer of visits is planned for the school-age public, proposed in cycles and adapted to each age group.

Recreation Centres Cultural itineraries emphasizing play and creation are proposed during the November school holidays.

Information: www.lesateliersderennes.fr > Guided visits & Outreach Reservations : Lucille Piquenot [email protected] / +33(0)9 81 92 15 42

58 10 Organisation

Organisation: Art Norac

Founded and directed by Bruno Caron, in 2005 the Norac group implemented a sponsorship policy in the area of contemporary art.

Art Norac was created as a non-profit association for organizing sponsored events of the Norac agribusiness group, to promote and aid in the development of contemporary creation. Its purpose is to: ›› Organize exhibitions, ›› Make the most recent developments in contemporary art accessible to the general public, ›› Highlight the many relationships between contemporary art and the economy.

In 2008, Art Norac created Les Ateliers de Rennes - contemporary art biennale.

In the domain of contemporary art it also supports 40mcube, the LAB associa- tion, the Jardin des Arts, and students of the Master’s program “professions and vocations of the arts of the exhibition,” for producing the exhibition organized at the Galerie Art et Essai of the Université Rennes 2.

Steering committee

To guide and inform Les Ateliers de Rennes, Art Norac assembled a steering committee composed of representatives from exhibition venues, institutional partners and the art world.

For this 4th edition, it includes:: ›› Bruno Caron / president of Art Norac ›› Catherine Brégand / Art Norac ›› Laetitia Bouvier / advisor in the visual arts, Ministry of Culture and Communication - DRAC Bretagne ›› Catherine Elkar / director of the Frac Bretagne ›› Anne Dary / director of the Museum of Fine Arts of de Rennes ›› David Perreau / curator ›› Etienne Bossut / artist 10 Organisation

Curator: Zoë Gray

Zoë Gray (UK) is an independent curator. She lives in Brussels, Belgium. She studied History of Art at the University of Cambridge and completed the Masters in Curating at Goldsmiths College, University of London.

Her recent curatorial projects include: ›› Wilfrid Almendra: Matériologique at la Fondation d’entreprise Ricard, Paris (2013) ›› Six Possibilités for a Sculpture, at La Loge, Brussels (2013) ›› Alexandre da Cunha, Le Grand Café, Saint-Nazaire, France (2012) (co-curator with Sophie Legrandjacques) ›› Manufacture, Centre PasquArt, Biel, Switzerland (2012), John Hansard Gallery, Southampton, UK (2011) and Parc Saint Léger, Pougues-les-Eaux, France (2011) (co-curator with Sandra Patron) ›› Making is Thinking at Witte de With, Rotterdam, the Netherlands, where she worked as a curator from 2006 to 2012 ›› Cyprien Gaillard’s Beton Belvédère, Stroom, The Hague, Netherlands (2009).

She worked as a project manager for the LUMA Foundation in Arles (France) on the 2012 group show To the Moon via the Beach (curated by Liam Gillick, Philippe Parreno, Hans Ulrich Obrist, Tom Eccles & Beatrix Ruf). Zoë Gray © Yann Peucat Gray is also a member of IKT (International association of curators of contemporary art) of which she was vice president from 2011-2014.

From 2011 to 2013, she was a member of the acquisition committee of the Frac Basse-Normandie. In 2012, she was a member of the jury of the Prix Marcel Duchamp.

Implementation: le troisième pôle (production, communication and mediation)

In charge of the implementation, communication, outreach and partners’ re- search for this 4th edition of Les Ateliers de Rennes - contemporary art biennale, le troisième pôle is a consulting company specializing in advising public institutions on cultural matters and strategies.

The agency defines itself as a team of “cultural engineers”, trying to give the most in advising public authorities on cultural policies, at the local, regional or national level.

Since 2000, le troisième pôle has developped various expertise within its multiple sectors of intervention and a diversity of projects: studies, consulting, communication and production of cultural events… The agency also developed in a cultural company management.

Concerned with the impact of its intervention and actions, le troisième pôle attaches a great importance in being closely involved with the projects.

www.letroisiemepole.com

60 Practical 11 information

Information

Les Ateliers de Rennes’ website www.lesateliersderennes.fr The new website for Les Ateliers de Rennes has been develop­ped in responsive design, which enables very easy consulting on smartphones and pads. Detailed information on the exhibitions, the artists, the collaborations, the events programme, visits and practical information, it is a useful tool for the biennale’s visitors.

PLAY TIME : Information point and ticket office Kiosque République (design : Erwan Mével) This engaging and welcoming kiosk, created especially for the biennale by Rennes-based designer Erwan Mével, provides visitors with all the information they need to know about Les Ateliers de Rennes. You can also buy your ticket there. 11 Practical information

Exhibition venues

Halle de la Courrouze Rue Lucie et Raymond Aubrac - 35136 Saint-Jacques-de-la-Lande T. +33 (0)2 99 83 95 63 Access by bus line 6, direction Saint-Jacques Morinais, “Cœur de Courrouze” stop & bus line 9, “Cleunay” direction and stop. Open Tuesday-Sunday – 14:00-19:00. Free entry every first Sunday of the month.

Museum of Fine Arts of Rennes 20, Quai Emile Zola – 35000 Rennes T. +33 (0)2 23 62 17 45 / www.mbar.org Access: Metro A: République / Bus lines 4, 6, 40, 50, 64, 67, “Musée beaux- arts” stop & bus line 8, “Lycée Zola” stop / Vélo STAR: avenue Janvier station Open Wednesday-Sunday: 10:00 – 12:00 & 14:00 – 18:00. Tuesday: 10:00 – 18:00. Closed on Monday and holidays Free entry every first Sunday of the month. Frac Bretagne 19 avenue André Mussat - CS 81 123 - F-35011 Rennes cedex T. +33 (0)2 99 37 37 93 / [email protected] / www.fracbretagne.fr Access bus line 4, “Beauregard” direction & “Cucillé”, “Préfecture” or “Beauregard” stops Open Tuesday: 12:00-19:00. Free entry every first Sunday of the month. PLAY TIME Entry prices Cards / Tickets Full price Reduced price*

PLAY TIME / Unlimited card 18 € 12 € * Nominative Card / Unlimited entry for PLAY TIME exhibitions for the duration of the biennale.

PLAY TIME / “3 venues” card 9 € 6 € * Valid for one entry to each PLAY TIME exhibition for the duration of the biennale. Halle de la Courrouze / Single entry 5 € 3 € *

Ticket office, Kiosk République and at the reception of each PLAY TIME venue. * Discounts: Active teachers, disabled card holders or person with disability, large family, Carte Cezam, members of the OPAR, of the Vivre à Beauregard association, and of the Friends of the Museums of Brittany. Free: Every 1st Sunday of the month and upon presentation of proof (beneficiaries of the RSA, under the age of 18, Carte Sortir, holders of the AGESSA or the Maison des Artistes, members of the Friends of the Frac Bretagne and the Museum of Fine Arts, members of the ICOM, persons accompanying handicapped visitors). Job seekers, students and youths: Tickets or free (see details online: www.lesateliersderennes.fr > Information). Visits & activities: Free, upon presentation of an entry ticket (within the limit of available places), programme at: www.lesateliersderennes.fr / Visits & Outreach). Groups: > Group entry without guided tour (10-25 people): reduced price > Group entry with guided tour (obligatory for school groups): see price options online.

62 11 Practical information

Contacts and team

T. +33 (0)2 99 83 95 63 [email protected] www.lesateliersderennes.fr

Organisation - Art Norac Bruno Caron, President Catherine Brégand, general coordinator

Art Norac 2 & 3, place Hoche, 35000 Rennes [email protected] / www.artnorac.fr

Curator Zoë Gray Marie de Gaulejac / assistant

Implementation - le troisième pôle Laurence Couvreux / head of production Delphine Riss / general coordinator Sonia Musnier / head of communication Pauline Génot / communication Anne-Hélène Frostin / head of outreach Lucille Piquenot / outreach Orane Robiolle / outreach assistant Elsa Bellanger, Perrine Poulain and Ségolène Brossette / production Marie Boiteau / production assistant Fabien Gougeon / technical director Xavier Ramond / adjunct technical director Claire Germaine, Yoan Chartier and Emmanuel Yon / registar Jean Arnaud / private funding

le troisième pôle 38 rue Notre dame de Nazareth, 75003 Paris [email protected] / www.letroisiemepole.com

Press relations - 2e Bureau Sylvie Grumbach, Martial Hobeniche, Marie-Laure Girardon Tél : 01 42 33 93 18 [email protected] www.2e-bureau.com

Visual identity & website design - Chevalvert

Graphic designer Christine Suzanne

63 11 Practical information

Associated exhibitions

40mcube 48, avenue Sergent-Maginot - 35000 Rennes T. +33 (0)2 90 09 64 11 / [email protected] / www.40mcube.org (see page 37)

Cabinet du livre d’artiste / éditions Incertain Sens Université Rennes 2 | Campus Villejean - Bât. Érève Place du recteur Henri Le Moal - CS 24307 - 35043 Rennes cedex T. +33 (0)2 99 14 15 86 / [email protected] / www.incertain-sens.org (see page 38)

La Criée centre d’art contemporain Place Honoré Commeurec - halles centrales - 35000 Rennes T. +33 (0)2 23 62 25 10 / [email protected] / www.criee.org (see page 39)

Phakt Centre Culturel Colombier 5 place des Colombes - 35000 Rennes T. +33 (0)2 99 65 19 70 / [email protected] / www.phakt.fr (see page 40)

Passerelle Centre d’art contemporain 41 rue Charles Berthelot F-29200 Brest T. +33 (0)2 98 43 34 95 / www.cac-passerelle.com (see page 41)

Le Quartier Centre d’art contemporain 10 esplanade François Mitterrand - 29000 Quimper T. +33 (0)2 98 55 55 77 / www.le-quartier.net (see page 42)

64 11 Practical information

Useful info on Rennes

To make the experience of the biennale as easy as possible for all its visitors, whether they are from Rennes, Brittany, or from elsewhere in France or abroad, the biennale has joined forces with three experienced partners, who will share their knowledge and experience concerning what there is to see and do in Rennes, and how to get around in the city, and even the region.

Visiting Rennes with Destination Rennes Individuals, groups, contemporary art aficionados or recent converts: if you wish to visit the biennale and discover the city of Rennes at the same time, Destination Rennes - Tourism Office will inform you about everything there is to see, do, and visit, and where to eat and sleep! www.tourisme-rennes.com

Getting around Rennes with the STAR Keolis Rennes’ public transport network has a page dedicated to the biennale on its website, showing how best to reach the various exhibition venues and partners’ sites. www.star.fr

TER Bretagne, partner of the biennale The TER Bretagne (Brittany train network) has partnered with PLAY TIME, 4th edition of Les Ateliers de Rennes - contemporary art biennale, by proposing a special rate to all travellers wishing to go to Rennes, Quimper or Brest to visit the exhibitions. Information at: www.lesateliersderennes.fr > Useful Information > getting around Rennes

Partner visibility

When passing in front of 4 Bis / CRIJ Bretagne, raise your eyes to behold the giant screen. There may be a flash of PLAY TIME intermittently displayed.

Do a spot of window shopping at Galeries Lafayette which is participating in the biennale in a new and unusual way, and discover a surprise on display.

65 Funders 12 and partners

The 4th edition of Les Ateliers de Rennes - contemporary art biennale has developed several partnerships with diverse structures: public bodies, private companies, international foundations and institutes, the media… We wish to extend our warmest thanks to them for their participation.

Institutional partners

Private partners

Media partnerships

Institutions and foundations

We would also like to thank:

DXM, Sulky Burel, Soréal, Kreizig, Heux assurances, Ackerman. Organisation Art Norac

Curator Zoë Gray

Implementation le troisième pôle www.lesateliersderennes.fr

Contact for the press

Sylvie Grumbach, Martial Hobeniche, Marie-Laure Girardon

T : +33(0)1 42 33 93 18 [email protected] - [email protected] www.2e-bureau.com