Ce que pense la main. An exhibition from the Frac Sud collection. Part I
Through 鈥淐e que pense la main鈥�, the Frac Sud offers a new exhibition of works within its walls, offering an opportunity to interpret or re-interpret the history of its collection through the prism of the artist鈥檚 relationship with the hand and the repertoire of singular gestures that these creations establish.
Conceived in two parts spread over the year, with a second installation in summer, the exhibition presents works by artists of different generations, some of whom have only recently entered the collection, showing the relevance and strong resurgence of this question in contemporary artistic practices.
Although etymologically, the word 鈥渁rt鈥� refers primarily to the idea of skill (for the Greeks, art was primarily a teckn猫鈥攁 technique), ever since the modern era, we have been differentiating, even opposing, the fine arts and decorative arts. The works presented here allow visitors to assess how much these artistic fields permeate one another, and observe the free circulation of gestures and expressions.
These works converse within an archipelago-type arrangement, exploring three broad themes: 鈥淭he Demiurgic Hand鈥� or the Creative Power of the Hand, 鈥淎rtialization鈥� or Revolutionizing the Perception of Reality and 鈥淧op Syncretism鈥� or Art Under Influences. Through these themes, the relationship with nature, the consideration of space and architecture, as well as notions of hybridization, patchwork and recycling (in their social and political senses as well), provide entry points for discovering this exhibition.
This exhibition also pays tribute to the work of the architect of the Frac Sud building, Kengo Kuma, and to his origamic gesture, with those glass panels designed by artisans with the aim of projecting an image in the city.
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Through 鈥淐e que pense la main鈥�, the Frac Sud offers a new exhibition of works within its walls, offering an opportunity to interpret or re-interpret the history of its collection through the prism of the artist鈥檚 relationship with the hand and the repertoire of singular gestures that these creations establish.
Conceived in two parts spread over the year, with a second installation in summer, the exhibition presents works by artists of different generations, some of whom have only recently entered the collection, showing the relevance and strong resurgence of this question in contemporary artistic practices.
Although etymologically, the word 鈥渁rt鈥� refers primarily to the idea of skill (for the Greeks, art was primarily a teckn猫鈥攁 technique), ever since the modern era, we have been differentiating, even opposing, the fine arts and decorative arts. The works presented here allow visitors to assess how much these artistic fields permeate one another, and observe the free circulation of gestures and expressions.
These works converse within an archipelago-type arrangement, exploring three broad themes: 鈥淭he Demiurgic Hand鈥� or the Creative Power of the Hand, 鈥淎rtialization鈥� or Revolutionizing the Perception of Reality and 鈥淧op Syncretism鈥� or Art Under Influences. Through these themes, the relationship with nature, the consideration of space and architecture, as well as notions of hybridization, patchwork and recycling (in their social and political senses as well), provide entry points for discovering this exhibition.
This exhibition also pays tribute to the work of the architect of the Frac Sud building, Kengo Kuma, and to his origamic gesture, with those glass panels designed by artisans with the aim of projecting an image in the city.
Artists on show
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