Exhibitions in Bordeaux
NoMuseum Gallery
Currently in Bordeaux
29 / 31 rue Notre Dame - Bordeaux (chartrons)
Franck Garcia
COLOR,SHAPE,SPACE
The exhibition "color, shape, space" recalls the work of Pierre Clerk in nearly 60 paintings and twenty sculptures and models of the artist.
Until Sunday, December 11, 2011
Open Tuesday to Sunday from 13:30 to 19:00 (except holidays)
Submarine base (facebook page)
Boulevard Alfred Daney
33300 Bordeaux
Tél. : +33(0) 5 56 11 11 50
Fax : +33(0) 5 56 39 94 45
Submarine base (facebook page)
Boulevard Alfred Daney
33300 Bordeaux
Tél. : +33(0) 5 56 11 11 50
Fax : +33(0) 5 56 39 94 45
10.06.2011 -> 02.12.2012
Etrange et pro
che (Strange and close)
Michelangelo Pistoletto, artistic director of EVENTO 2011, and the CAPC Museum of Contemporary Art in Bordeaux invite the Van Abbemuseum Eindhoven (Netherlands).
The exhibition Strange and Close is the result of a meeting between the two museums, two art institutions whose history attests the notoriety. The CAPC invited the Van Abbemuseum invite as an artist, in response the Van Abbemuseum presents works mainly from recent acquisitions to its collection, associated with the intervention of several guest artists.
The exhibition title is borrowed from the philosopher Homi Bhabha. For him "strange and close" to understanding the essential concept of "neighborhood".
For the Van Abbemuseum, this title can also consider the relationship between viewers and artworks as objects of observation. The museum works and the device attempts to reveal the tensions and negotiations required that emanate from different relationships with our neighbors. These relational exchanges, across the globe and the city, change with the globalization process that characterizes our society. What animosities and what competitions they emerge from these new relationships? How contemporary artists react in this context? How social organization reflects it's past, how she agrees to adjust to new values, see the world differently?
The nave of the ACPC welcomed the architectural works of Marjetica Potrc, Dan Peterman, Bartana and Artur Zmijewski, as well as those of Absalom, from the collection of CAPC. Different platforms have visitors videos of Chto Delate, Daniza Dakic, Harun Farocki and other artists. The mezzanine is invested by the works of Akram Zaatari, Nedko Solakov, Aydan Murtezaoglu. Historical works of Michelangelo Pistoletto find their place within this system.
-> Curator(s): Charles Esche, Galit Eilat
7, rue Ferrère, 33000 Bordeaux, France
Tél. +33 (0)5 56 00 81 50 / Fax. +33 (0)5 56 44 12 07
www.capc-bordeaux.fr
gps 44°50'53.60"N/0°34'19.56"
11.10.2011 ->02.62.2012
Sociétés secrètes (Secret Societies)
Knowledge, Dare, Will, Keep Silence
An exhibition organized by the Schirn Kunsthalle in Frankfurt in cooperation with the CAPC Museum of Contemporary Art Bordeaux.
Humanity has always been fascinated by secret societies, with their secret rituals, secret knowledge and exclusive circle of members. Characteristics range from harmless to the powerful brotherhood association financial objectives and policies anything but altruistic. Especially in times of crisis, secret societies offer proxies for large political, social and technological mainstream.
This set of obsession, illusion, and impenetrability of clean energy subversive secret societies which since time immemorial has fascinated, frightened, which fed conspiracy theories but, also, is still fell in time to propose an alternative hidden value systems more conventional, especially in times of economic crises, political and technological. The exhibition shows how the secret societies, with their initiation rituals, their specific formal language and inner circle refer to some of the mechanisms of contemporary art and how in contrast, the artists touch on these rituals and the symbols in a way that is surprisingly varied.
A hundred works, paintings, photographs, sculptures, films and installations are presented. The exhibition features the work of over fifty artists, including Dan Atto, Jean-Luc Blanc, Armin Boehm, Steven Claydon, Enrico David, Brice Dellsperger, Gretchen Faust, Julian Goth Uwe Hennekens, Benedikt Hipp, Jenny Holzer, Rashid Johnson, Terence Koh, Donghee Koo, Elad Lassry, Gabriel Lester, Goshka Macuga, Duncan Marquiss, David Noonan, Markus Schinwald, Carl Michael von Hausswolff, Ulla von Brandenburg.
An exhibition organized by the Schirn Kunsthalle in Frankfurt in cooperation with the CAPC Museum of Contemporary Art Bordeaux.
Humanity has always been fascinated by secret societies, with their secret rituals, secret knowledge and exclusive circle of members. Characteristics range from harmless to the powerful brotherhood association financial objectives and policies anything but altruistic. Especially in times of crisis, secret societies offer proxies for large political, social and technological mainstream.
This set of obsession, illusion, and impenetrability of clean energy subversive secret societies which since time immemorial has fascinated, frightened, which fed conspiracy theories but, also, is still fell in time to propose an alternative hidden value systems more conventional, especially in times of economic crises, political and technological. The exhibition shows how the secret societies, with their initiation rituals, their specific formal language and inner circle refer to some of the mechanisms of contemporary art and how in contrast, the artists touch on these rituals and the symbols in a way that is surprisingly varied.
A hundred works, paintings, photographs, sculptures, films and installations are presented. The exhibition features the work of over fifty artists, including Dan Atto, Jean-Luc Blanc, Armin Boehm, Steven Claydon, Enrico David, Brice Dellsperger, Gretchen Faust, Julian Goth Uwe Hennekens, Benedikt Hipp, Jenny Holzer, Rashid Johnson, Terence Koh, Donghee Koo, Elad Lassry, Gabriel Lester, Goshka Macuga, Duncan Marquiss, David Noonan, Markus Schinwald, Carl Michael von Hausswolff, Ulla von Brandenburg.
Catalog
"Sociétés secrètes. Savoir, Oser, Vouloir, Garder le Silence"
Foreword by Max Hollein et Charlotte Laubard, texts from Michael Bracewell, Ina Blom, Gary Lachman, Jan Verwoert and discussions between Cristina Ricupero et Alexis Vaillant. Allemand, in french and english, 256 p, 150 images., Snoeck, Cologne 2011, 39,80 €
-> Curator(s): Cristina Ricupero et Alexis Vaillant
CAPC - museum of contemporary art in Bordeaux -
7 July to 31 August
Divines inspirations
L'art du costume
Opera, ballet, theatre and cinema all owe a considerable part of their power of attraction to the art of costume. Because costumes not only clothe our heroes but they also reveal their personality, highlight their social status, their cultural roots, their character, their mood …
In fact costumes speak to us, they recount, they evoke< And it is this unique "language" that is unveiled here in this wonderful exhibition devised by Giulio Achilli.
On display, from the workshops of the Opéra National de Bordeaux, the National Centre of Stage Costume in Moulins, the archives of the embroidery workshops of Maison Vermont, Stéphane Rolland Haute Couture, the Lace Manufacture Museum in Retournac, and the Rome Opera, will be work by famous designers and painters, marvels of lace and embroidery, examples of production and decorative techniques … 
Every nook and cranny of the Grand Théâtre will be adorned with lavish and unusual items. Children will even be able to try their hand at creating costumes.
The exhibition has something for everyone. It provides an exceptional glimpse of a fascinating part of our heritage.
An amazing experience guaranteed !
Open from Monday to Saturday 12 noon – 6 h30 pm (except 14 th July an 15 th August)
Adults : 5 €
Youngs - 26 ans : 3 € & - 12 ans : fee
From 02.10.11 to 12.04.11
"Le Chateau"at CAPC museum
Galerie Foy, second floor
Prices : 5€ - 2,5€
The exhibition "Le Chateau" (the castle) at the CAPC, a course of thirteen rooms, punctuated by the proposals of twenty artists and built around concepts such as work and the real, the material or its simulacrum, the mental or hard, registering in space , memory, metaphor of a project. But these are just some of the possible approaches to the exhibition: the works are there, irreducible. They offer other views, other possible worlds. How close? By emancipating itself from what is believed to know and daring, like children, a more attentive and intuitive encounter with the work. The exhibition from this choice works recently acquired by the city of Bordeaux and the Association of Friends of ATPC to the museum's collection.
From 06.30.11 to 09.26.11
"Poussin et Moïse, du dessin à la tapisserie"
"Galerie des beaux-arts"
Adress: Place du Colonel Raynal - 33000 Bordeaux -
Phone number : +33 5 56 96 51 60
Opening:
the museum and the gallery are open every day from 11 a.m to 6 p.m exept every tuesday and public holidays.
Access: Tram line A or B, "Palais de Justice" stop or "Hôtel de Ville" stop .
Opening:
the museum and the gallery are open every day from 11 a.m to 6 p.m exept every tuesday and public holidays.
Access: Tram line A or B, "Palais de Justice" stop or "Hôtel de Ville" stop .
Car parks of Mériadeck or Saint-Christoly.
Prices: 5 € - 2,5 €
Prices: 5 € - 2,5 €
From 05.14.11 to 08.28.11
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An exhibition written by Mark von Schlegell
It is a scenario proposed by science fiction writer and theorist Mark von Schlegell American born exposure Dystopia. In this scenario that formed the basis for Mark von Schlegel and Alexis Vaillant, Curator at the CAPC to build exposure, dystopia or utopia in reverse, was understood not as an end but a beginning.
Against a backdrop of global crisis, contemporary art is facing its own dissolution theory, in a reality completely laid bare. The utopian avant-garde is itself seen as in cahoots with a destructive consumer capitalism with a fatal stroke seems impossible to slow down. Mark von Schlegel, the traditional end of the Enlightenment and Dystopia understood as -''imaginary place or circumstances of the worst "* - offers a possible future for contemporary art.
The dystopia is the present from which our vision of the past and the future seems compromised. Immersed in this, his dystopian art is constrained by a limited point of view that generates an indeterminate and fictional narrative potential. As in the theory that new universes are born in black holes is concentrated in a dystopia than utopia appear. It is from the dismissal of dystopia as utopia is conceived in its ideal size and uncertain. What makes Mark Schlegell say that "Dystopia, today."
As he recalls: "With the twilight of the last beautiful days of the industrial era and the widespread awareness of its ravages, art can, at best, say the absolute irony of his posture, and at worst, to show less of an attitude that, in the opinion of all, is truly apocalyptic. "** For him, the ability of art to dramatize his powerlessness against a complex monolithic cultural system provides early narrative whose possibilities are endless. The exhibition begins a mapping of those opportunities.
The sculptures, installations, paintings, performance, films and publications of forty-six international artists, historical and emerging, are presented in the entire ground floor of the CAPC. Haunted by the flaws and disorder, the works are perceived as well as apocalyptic visions than as abstract speculations made in the present. They favor, according to the wishes of von Schlegel, a reading of the exhibition as a work of fiction, as can be seen the catalog written in parallel to the exhibition. New Title Dystopia, this illustrated book is the latest novel by Mark von Schlegel. The exhibition is divided in turn into two parts. On the one hand, a dystopian landscape deployed in the nave of the CAPC and designed as a film set of John Carpenter and the other seven rooms or cells in which the works explore reflexively the dystopian aspects of our time . Finally, the assembly is immersed in a bath color "red-fahrenheit" evokes a world as caught in a kind of permanent sunset.
Works
It is a scenario proposed by science fiction writer and theorist Mark von Schlegell American born exposure Dystopia. In this scenario that formed the basis for Mark von Schlegel and Alexis Vaillant, Curator at the CAPC to build exposure, dystopia or utopia in reverse, was understood not as an end but a beginning.
Against a backdrop of global crisis, contemporary art is facing its own dissolution theory, in a reality completely laid bare. The utopian avant-garde is itself seen as in cahoots with a destructive consumer capitalism with a fatal stroke seems impossible to slow down. Mark von Schlegel, the traditional end of the Enlightenment and Dystopia understood as -''imaginary place or circumstances of the worst "* - offers a possible future for contemporary art.
The dystopia is the present from which our vision of the past and the future seems compromised. Immersed in this, his dystopian art is constrained by a limited point of view that generates an indeterminate and fictional narrative potential. As in the theory that new universes are born in black holes is concentrated in a dystopia than utopia appear. It is from the dismissal of dystopia as utopia is conceived in its ideal size and uncertain. What makes Mark Schlegell say that "Dystopia, today."
As he recalls: "With the twilight of the last beautiful days of the industrial era and the widespread awareness of its ravages, art can, at best, say the absolute irony of his posture, and at worst, to show less of an attitude that, in the opinion of all, is truly apocalyptic. "** For him, the ability of art to dramatize his powerlessness against a complex monolithic cultural system provides early narrative whose possibilities are endless. The exhibition begins a mapping of those opportunities.
The sculptures, installations, paintings, performance, films and publications of forty-six international artists, historical and emerging, are presented in the entire ground floor of the CAPC. Haunted by the flaws and disorder, the works are perceived as well as apocalyptic visions than as abstract speculations made in the present. They favor, according to the wishes of von Schlegel, a reading of the exhibition as a work of fiction, as can be seen the catalog written in parallel to the exhibition. New Title Dystopia, this illustrated book is the latest novel by Mark von Schlegel. The exhibition is divided in turn into two parts. On the one hand, a dystopian landscape deployed in the nave of the CAPC and designed as a film set of John Carpenter and the other seven rooms or cells in which the works explore reflexively the dystopian aspects of our time . Finally, the assembly is immersed in a bath color "red-fahrenheit" evokes a world as caught in a kind of permanent sunset.
Works
Wallace Berman / Cosima von Bonin / Brian Calvin /Tony Carter / Marc Camille Chaimowicz / Peter Coffin / Simon Denny / Andreas Dobler / Roe Ethridge / Keith Farquhar / Hans-Peter Feldmann / Aurélien Froment / Cyprien Gaillard / Isa Genzken / Dan Graham / Robert Grosvenor / Sebastian Hammwöhner / Roger Hiorns / Ull Hohn / Des Hughes / Peter Hutchinson / Sergej Jensen / On Kawara / Michael Krebber / Jesús Mari Lazkano / Rita McBride / John Miller / Pathetic Sympathy Seekers / Manfred Pernice / Stephen G. Rhodes / Glen Rubsamen / Sterling Ruby / Julia Scher / Frances Scholz / Michael Scott / Markus Selg / Reena Spaulings / Michael Stevenson / Tommy Støckel / Josef Strau / Blair Thurman / Mathieu Tonetti / Oscar Tuazon / Franz West / Jordan Wolfson
Special disaster : Eugène Isabey
From 03/12/2011 to 04/30/2011
"Art is nothing without you" 
Solo Show / No MuseuM GALLERY / BORDEAUX
Powered&Curated by Andréric Berthonneau
Powered&Curated by Andréric Berthonneau
NoMuseum - Contemporary Art Gallery
27, rue du Parlement Saint Pierre - 33000 Bordeaux Web site of Laurent Valera NoMuseum Gallery Bordeaux Gallery Andreric Berthonneau
Johan Furåker
The exhibition "The First runaway" Johan Furåker can be seen as the avatar of contemporary adventures of Albert Dada, a journey told by a patient and a psychiatrist at the turn of the century, decrypted and analyzed by a philosopher to the late 1990s and a journey saw in the second half of the 2000s by a Swedish artist taken by the story without an image to which these images belong today.
The exhibition "The First runaway" Johan Furåker can be seen as the avatar of contemporary adventures of Albert Dada, a journey told by a patient and a psychiatrist at the turn of the century, decrypted and analyzed by a philosopher to the late 1990s and a journey saw in the second half of the 2000s by a Swedish artist taken by the story without an image to which these images belong today.
Le premier fugueur (The first runaway)
Andre LeBlanc
Andre LeBlanc
In 1887, Albert Dada was the first person to receive the diagnosis of pathological runaway. Unable to resist the impulse to give up everything - family, friends, jobs - and to go where he pleased, he traveled almost always on foot, in a mental condition wich could only revive to memories with hypnosis, wandering from city to city, from Paris to Moscow via Prague and Istanbul, before being arrested as a vagrant, and obliged to return home to Bordeaux. His case sparked a small outbreak of "insane Travellers in France and then spread to Italy, Germany and Russia, but apparently it in any other country. It lasted only two decades after 1909 the diagnosis of fugue will be increasingly rare. Who was Albert Dada? What he really suffered? Can be regarded as real a disease epidemic is limited so closely in space and time? By referring to the tables on Furåker Johan Dada and his prodigious travels, we will draw the answers to these questions in the Shadow of the eminent philosopher Voyageurs Canadian, Ian Hacking, who has given us a fascinating analysis of Dada, his doctor, Dr. Philip Tissie, and medical and cultural vectors that created an environment conducive to the growth of this phenomenon which Bordeaux was the epicenter.
Andre LeBlanc has taught at Concordia University (Montreal) and the University of King's College in Nova Scotia. Visiting Professor at the University of Bordeaux in the Master in History and Philosophy of Science last October, he is currently Professor of History and History of Science at John Abbott College in Montreal.
Andre LeBlanc has taught at Concordia University (Montreal) and the University of King's College in Nova Scotia. Visiting Professor at the University of Bordeaux in the Master in History and Philosophy of Science last October, he is currently Professor of History and History of Science at John Abbott College in Montreal.
(Albert Dadas : le premier voyageur aliéné.
En 1887, Albert Dadas fut la première personne à recevoir le diagnostic de fugueur pathologique. Incapable de résister à l’impulsion de tout abandonner – famille, amis, emploi – et d’aller là où bon lui semblait, il voyageait presque toujours à pied, dans un état second dont seule l’hypnose pouvait raviver le souvenir, errant de ville en ville, de Paris à Moscou, passant par Prague et Constantinople, avant d’être arrêté comme vagabond et obligé de rentrer chez lui à Bordeaux. Son cas déclencha une petite épidémie « d’aliénés voyageurs » en France puis se répandit ensuite en Italie, en Allemagne et en Russie, mais semble-t-il dans aucun autre pays. Elle ne dura que deux décennies : après 1909 les diagnostics de fugue se feront de plus en plus rares. Qui était Albert Dadas ? De quoi souffrait-il vraiment ? Peut-on considérer comme réelle une maladie dont l’épidémie se limite si étroitement dans l’espace et le temps ? En nous référant aux tableaux de Johan Furåker sur Dadas et ses prodigieuses pérégrinations, nous puiserons les réponses à ces questions dans Les Fous Voyageurs de l’éminent philosophe canadien, Ian Hacking, qui nous a livré une analyse passionnante de Dadas, de son médecin, le Docteur Philippe Tissié, et des vecteurs médicaux et culturels qui créèrent un environnement favorable à l’épanouissement de ce phénomène dont Bordeaux fut l’épicentre.
André LeBlanc a enseigné à l’Université de Concordia (Montréal) et à l’Université de King’s College en Nouvelle-Écosse. Professeur invité à l’Université de Bordeaux dans le cadre du Master en Histoire et Philosophie des Sciences en octobre dernier, il est actuellement Professeur d’Histoire et d’Histoire des Sciences à John Abbott College, à Montréal).
En 1887, Albert Dadas fut la première personne à recevoir le diagnostic de fugueur pathologique. Incapable de résister à l’impulsion de tout abandonner – famille, amis, emploi – et d’aller là où bon lui semblait, il voyageait presque toujours à pied, dans un état second dont seule l’hypnose pouvait raviver le souvenir, errant de ville en ville, de Paris à Moscou, passant par Prague et Constantinople, avant d’être arrêté comme vagabond et obligé de rentrer chez lui à Bordeaux. Son cas déclencha une petite épidémie « d’aliénés voyageurs » en France puis se répandit ensuite en Italie, en Allemagne et en Russie, mais semble-t-il dans aucun autre pays. Elle ne dura que deux décennies : après 1909 les diagnostics de fugue se feront de plus en plus rares. Qui était Albert Dadas ? De quoi souffrait-il vraiment ? Peut-on considérer comme réelle une maladie dont l’épidémie se limite si étroitement dans l’espace et le temps ? En nous référant aux tableaux de Johan Furåker sur Dadas et ses prodigieuses pérégrinations, nous puiserons les réponses à ces questions dans Les Fous Voyageurs de l’éminent philosophe canadien, Ian Hacking, qui nous a livré une analyse passionnante de Dadas, de son médecin, le Docteur Philippe Tissié, et des vecteurs médicaux et culturels qui créèrent un environnement favorable à l’épanouissement de ce phénomène dont Bordeaux fut l’épicentre.
André LeBlanc a enseigné à l’Université de Concordia (Montréal) et à l’Université de King’s College en Nouvelle-Écosse. Professeur invité à l’Université de Bordeaux dans le cadre du Master en Histoire et Philosophie des Sciences en octobre dernier, il est actuellement Professeur d’Histoire et d’Histoire des Sciences à John Abbott College, à Montréal).
From 15/12/2010 to 15/02/2011
"MANGER, AU COMMENCEMENT ETAIT LA FAIM ..."
Born from the meeting between Fabien Touraille ( art collector, art lover and owner of the restaurant the " Petit Commerce") and his friend Andréric Berthonneau (art dealer and curator), NoMuseuM is a new place devoted to Contemporary Art.
Fabien Touraille, Jean-Pierre Voise, Andréric Berthonneau and the entire team of the "Petit Commerce" are pleased to invite you to the opening of the inaugural exhibition "EAT, the beginning was the hungry ..." December 15, 2010. Be the first to discover this new showcase of the emerging scene.
NoMuseum also propose in the near future publishing catalogs and singular objects in unique pieces or limited series.
Fabien Touraille, Jean-Pierre Voise, Andréric Berthonneau and the entire team of the "Petit Commerce" are pleased to invite you to the opening of the inaugural exhibition "EAT, the beginning was the hungry ..." December 15, 2010. Be the first to discover this new showcase of the emerging scene.
NoMuseum also propose in the near future publishing catalogs and singular objects in unique pieces or limited series.
(Né de la rencontre de Fabien Touraille ( amateur et collectionneur d'art, propriétaire du restaurant Le Petit Commerce ) et de son ami Andréric Berthonneau ( marchand d'art et commissaire d'exposition ), NoMuseuM est un nouveau lieu dédié à l'art contemporain.
Fabien Touraille, Jean-Pierre Voise, Andréric Berthonneau ainsi que l'ensemble des équipes du Petit Commerce ont le plaisir de vous convier au vernissage de l'exposition inaugurale "MANGER, Au commencement était la faim..." le 15 Décembre 2010.
Soyez les premiers à découvrir cette nouvelle vitrine de la scène émergente. NoMuseum proposera également dans un avenir proche l'édition de catalogues et d'objets singuliers en pièces uniques ou en série limitée).
27 rue du Parlement Saint-Pierre
Contact +33 (0) 964 176 124
- Manger, Au commencement était la Faim..
Group Show :
Stéphanie Barthes, Claire Soubrier, Franck Garcia, Pierre Grangé-Pradéras.
Opening de NoMuseum, gallery 27 rue du parlement St Pierre le 15 Décembre à Bordeaux.
Stéphanie Barthes, Claire Soubrier, Franck Garcia, Pierre Grangé-Pradéras.
Opening de NoMuseum, gallery 27 rue du parlement St Pierre le 15 Décembre à Bordeaux.
- The Region of Silence ... duo Show
Stéphanie Barthes, Frank Garcia, Opening on January 2011, the 13th, in Toulouse.
Stéphanie Barthes, Frank Garcia, Opening on January 2011, the 13th, in Toulouse.
( La Region du Silence…duo Show
Stéphanie Barthes, Franck Garcia, vernissage le13 janvier 2011 à Toulouse).
Stéphanie Barthes, Franck Garcia, vernissage le13 janvier 2011 à Toulouse).
ART CHARTRONS 2010
From 4 to 14 November 2010, the city of Bordeaux hosts an amazing contemporary art from Chartrons to the tidal Basin.
Paintings, sculptures, photographs, installations, performances;
The art exposed in 27 different places, open free to the public.
Paintings, sculptures, photographs, installations, performances;
The art exposed in 27 different places, open free to the public.
PIERRE CLERK
FRANCK GEHRY
Until November 6, 2010
Kuryos Gallery proposes YOANN PENARD sculptures
From October 8 to November 3, 2010
From November 18 to February 2, 2011 at the CAPC
Robert Breer
Robert Breer (born in 1926) built, for sixty years, a funny and exciting work. Successively the artist has partnered with several significant movements of the French and American avant-garde. After practicing geometric abstraction in the '50s, he produced Animations films, then, from the mid 60's he has invented moving objects,the " Tanks", the "Rugs" and the "Floats". The CAPC brings together for the first time all floating sculptures, the "Floats" in the nave of the Museum.
Daily from 11:00 a.m to 6:00 p.m - Closed on Monday - Open until 8:00 p.m on Wednesday
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Permanent Collections : Free for everyone, everyday
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Temporary Exhibitions : 5€ and 2,50€ reduced
JIM SHAW, LEFT BEHIND,
The End is Here, by Fabrice Stroun
Left Behind, From May 7 to September 19 - 2010
Fabrice Stroun is critical and curator.
Specialist of the work of JIM SHAW , Fabrice Stroun was the curator of the first European retrospective of the artist in the late 90s.
Through appropriate images from popular culture, Jim Shaw reported an America in decline. Fabrice Stroun writes in his exhibition visit the major steps of this work from 1974 to today : from the first plays photographic Dream - a series started in 1992 when the artist makes objects from his dreams of - then Thrift Store Paintings, a collection of flea market pictures, and My Mirage telling in one hundred and seventy pieces wanderings of a young white middle class, lost in the whirlwind of the cons-culture of the 60s, before the backdrops, the Christian material and drawings including Apocalypse gathered in the exhibition.
CAPC Address: Go to "Museums-Cinemas-Theater" at the Home page
BUY - SELF : Back to the Future
Until Suday, 16 May 2010
Le CAPC invited the art association Buy-Sellf to propose an exhibition to take stock of artists and works that the association supported the last 10 years.
A return on works arising from production planning, a focus on the featured artists who made history of Buy-sellf (Anita Molinero, Mathieu Mercier, Bruno Peinado Perbos Laurent, Guillaume Poulain, Wilfrid Almendra ...) and projects by emerging artists (Sylvain Rousseau, Stephanie Cherpin, Frederick Plateus ...). The reference to the genre film acts as a link in the operative stage design of this exhibition wich is deliberately simulate the special effects, using light-dark, stagings and games, incorporating the works as elements used in the construction of a narrative thread.
Le CAPC invited the art association Buy-Sellf to propose an exhibition to take stock of artists and works that the association supported the last 10 years.
A return on works arising from production planning, a focus on the featured artists who made history of Buy-sellf (Anita Molinero, Mathieu Mercier, Bruno Peinado Perbos Laurent, Guillaume Poulain, Wilfrid Almendra ...) and projects by emerging artists (Sylvain Rousseau, Stephanie Cherpin, Frederick Plateus ...). The reference to the genre film acts as a link in the operative stage design of this exhibition wich is deliberately simulate the special effects, using light-dark, stagings and games, incorporating the works as elements used in the construction of a narrative thread.
Artists : Wilfrid Almendra, Fayçal Baghriche, Beni Bischof, Simon Boudvin, Lilian Bourgeat, Stéphanie Cherpin, Clédat & Petitpierre, Anne Colomes, Patrice Gaillard et Claude, Vincent Kohler, Laurent Kropf, Vincent Laval, Briac Leprêtre, Stéphane Magnin, Tony Matelli, Damien Mazières, Mathieu Mercier, Nicolas Milhé, Anita Molinero, Nicolas Moulin, Bruno Peinado, Alexandra Pellissier, Laurent Perbos, Frédéric Plateus, Guillaume Poulain, Jérémy Profit, Serge Provost, Sylvain Rousseau, Victor Vasarely, Stéphane Vigny.
CAPC Address : Go to "Museums-Cinemas-Theater" on the home page
Until April, the 18th - 2010
After graduating from the Ecole des Beaux-Arts de Bordeaux in 2007, Johann Milh, in the context of programming 50'54N 44 ° / 0 ° 34'19W, shows a series of paintings at the SCLC.
These seven paintings are set in an anonymous city and archetypal, anchored in an austere and dehumanized modernity . Each of these modern landscape architecture integrate in its angular and authoritarian construction, a character expressing anger or distress. These skaters dispossessed of their board, scream mute, face with urban constraints which they "paint" tirelessly contours. Through Hyperrealistic series Public Domain shows bodies in search of balance, identity, obstinate to overcome failure and pain.
These seven paintings are set in an anonymous city and archetypal, anchored in an austere and dehumanized modernity . Each of these modern landscape architecture integrate in its angular and authoritarian construction, a character expressing anger or distress. These skaters dispossessed of their board, scream mute, face with urban constraints which they "paint" tirelessly contours. Through Hyperrealistic series Public Domain shows bodies in search of balance, identity, obstinate to overcome failure and pain.
CAPC Address: Go to "Museums-Cinemas-Theater" at the home page
Musée des Beaux Arts, Salle René Domergue,
20 Cours d' Albret
33000 Bordeaux
François Dilasser: The Kings lost their crown for a hat
Until 31 Janvier 2010
Hans Seiler
From November 19 to February 28 , 2010
Unknown, painting by Hans Seiler differs primarily by the special treatment of light transmitted by light touches, leading the table and challenges the viewer's gaze. Switzerland's Roger Bissiere was a student, a native of the Bordeaux region and the precursor of non-figurative movement in France. Missing accidentally in 1986, Hans Seiler has left a legacy of many drawings and paintings, some of which will integrate the collection of the Museum of Fine Arts of Bordeaux as a result of exposure.
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