IL N’Y A PAS DE FUMÉE SANS FEU / THERE’S NO SMOKE WITHOUT FIRE
L’Équipée Critique, a group of students from Master’s Program “Métiers et arts de l’exposition”, presents an exhibition conceived as a forum.
Combining the archives of feminist art critic Nathalie Magnan with works from the Frac Bretagne collection, we explore the links between media, political commitment and representation.
A pioneer in media and network analysis, Nathalie Magnan has studied the way information circulates and influences our perceptions. Her work sheds light on current issues linked to digital media and dominant discourses.
In this exhibition, we place her critical legacy in dialogue with contemporary works that question the norm. In particular, we have chosen to address LGBTQIA+ issues, central to his thinking and engagement.
Since September 2024, we have been working with the Archives de la critique d’art and the Frac Bretagne to create a space for reflection and exchange. How can we present these archives and works? How can they be articulated and shared with the public?
To descend into the Frac Canyon is to enter a place where alternative networks, tactical media and social critique are in dialogue. Each work selected enriches our view of Nathalie Magnan’s research, commitment and incisive humor.
Through this project, we question our relationship with dominant images and narratives. As she shows in her film Il n’y a pas de fumée sans feu, et en plus c’est vrai! information is often guided by invisible, uncontrollable mechanisms. This exhibition is an invitation to decipher them together.
With works by : Basel Abbas and Ruanne Abou-Rahme, Marie José Burki, Louis Frehring, Mehryl Levisse, Marianne Marić, Antoni Muntadas and Nora Turato.
Horizons of a world II, a 15-minute silent video, is a kind of international press review. Newspapers are flipped through in close-up, with references to the events of September 11, 2001 appearing progressively, without explicit display, through tiny clues that accumulate: stock market prices, photographs of politicians, weather maps and so on. But we also discover the course of ordinary life, with advertisements, sports results and announcements of all kinds. The folds of the newspaper, when they are visible, seem to attest to the veracity of the information, but the total absence of sound and the even rhythm of page-turning level out all the data, as if death had struck far beyond the World Trade Center towers, as if the actors in the news no longer had anything but a ghostly existence.
