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Statement and short bio

Fanny Gicquel is primarily interested in the concepts of relationships, language, care, and intimacy. She creates environments in which she experiments with presence between bodies, space, and the time of the exhibition in order to create a new syntax that questions our modes of relationships. Her sculptural works, often integrated into performances combining choreography and improvisation, evoke a kind of permeability between the self and the other, the inside and the outside, the human and the non-human. Fanny Gicquel imagines the world as a dynamic constellation of entanglements, intersections, and interferences. A graduate of EESAB Rennes in 2018, Fanny Gicquel (born in 1992) has presented her work in several solo exhibitions, including at Passerelle, Center for Contemporary Art in Brest (FR), The left right Place in Reims (FR), and at Hua international gallery in Berlin(DE) and Beijing(CH). She has also been presented in Unworlding, a special section of Frieze (UK) organized by Cédric Fauq, as well as at the Art Souterrain Festival in Montreal, at Buropolis in Marseille, and at the Beiqiu Contemporary Art Museum in China. In 2022, she won the best exhibition award at the Gallery Weekend Beijing for her exhibition «Now, and then» in Beijing. She then went on to a research and creation residency at Fieldwork Marfa in Texas thanks to the Hostcall prize she won in 2021. Currently, Fanny Gicquel is a laureate of the Art Norac prize at Frac Bretagne, which will allow her to present a solo exhibition at Temple Bar Gallery+Studio in Dublin in May 2023. Furthermore, she is in residence at the Archives of Art Criticism in Rennes where she is working on an ambitious collaborative and performative project.

Close to the catarct written by Henri Guette.

Published on YACI/Jeune critique d’art (2022)
There is always an impression of fragility with glass. Perhaps because it is the materialization of a breath and we know how much a breath can break. A frozen breath whose contours would be words, whose breakings always have an air of threat. With glass, we make pretty things like little animals, menageries that gather dust on the shelves when we don’t know how to love them. With glass, we sink into the breathing of another. Fanny Gicquel, with glass, gives a second form to our bodies, the double of a heart with Plain Pleasure, or that of a rib cage with I said cage no room. In the light, these glass ducts shine and it is as if they underline an absence.
Two sisters or two performers, depending on the situation, smoke or vape. They don’t speak to each other and perhaps understand each other on the side. The installation Close to the Cataract is designed for two people, who are complicit enough to seek each other’s company and yet so absorbed in themselves that they seem to miss each other; this is also what brings them together with two heroines of the British novelist Jane Bowles: Harriet and Sadie, sisters in Camp Cataract (1949).
One inhales, the other exhales. It’s the same smoke and you can see from the condensation and the drops of water how close they are. Live as close as possible to each other. They are two glass flutes that carry an inaudible music, perhaps because we are not in tune, in this same time that is here as if extended. It is like two runners passing the baton to each other, because they cannot hold hands. The second, the third in a family, sometimes by a few minutes, often by several years: what to do with one’s own place? We are on the verge of a rupture, the cataract and the sound of the fall should engulf everything. A wet explosion followed by a haggard silence. This is what lies between the lines, what overflows from the words: the unspoken nature of literature, dear to Bowles and to his contemporary, the American playwright Tennessee Williams. Dear perhaps to all those who know what can be lost by talking too much.
We cling to the gestures as if we were trying to communicate. One inhales and the other exhales her electronic cigarette. She pulls her head into her cage; inside there is still something that does not sit well, perhaps an anxiety. All in tension, the score Au diable les sœurs begins with an air of playing with hands, four hands that seek each other out and rebuke each other until they attack each other’s faces. Mimicry is said to be a strategy of seduction. It is said that reproducing the gestures of the other is a way of seeking approval. It is said that mirroring increases empathy, but anyone who has been confronted with someone who imitates them too much knows that irritation is not far off. We” don’t hold on to much. Boundaries are always being recomposed and you have to be prepared to see the blow go off, even in your hands. The space between the hands does not only indicate the resistance of the air, but also everything that one has to invest in a performance; the interpretative capacity.
They don’t speak to each other and perhaps understand each other on the side. In what is being played out, small gestures divert large rivers and variations reveal a traumatic event. Jane Bowles’ heroines are presented to us as “dysfunctional” and perhaps it is indeed of rehashing that the installation, the camp, speaks to us. What would we have done differently if we had known? Could we read the events differently? What temporality informs our judgments and assessments? The story does not make a decision and leaves the reader with an open ending. The installation itself plays with suspense and the objects gently placed on the floor give a sense of an environment. The fragile hooks put the walls and the floor in tension, all that we believe to be given.
Who will have the last word of the two young women? In Fanny Gicquel’s Invention Exercise, they compose and recompose words from the same set of letters. What could be a game of anagrams becomes, however, a confrontation about language through the intensity of the protagonists. They do not speak, but the letters they rearrange more and more violently, clash and find a sonic materiality. It is a game that forces the possibilities of language; words are formed before thought, the image of words even before their meaning. It is not possible through language to reach the thought of the other, which exceeds, overflows; the contours of the same words change according to whether they are of one or the other. Once again, we touch on the unspoken, and on what in Jane Bowles or Tennessee Williams makes literature.
In the multiple interactions that the objects provoke, there is the idea of collaboration. With To Pass in his Head, it is necessary to work hand in hand to carry the sculpted aluminium disc and, as the title suggests, to empathise. The disc is passed from one face to the other in a circular rotation, in a revolution that induces passage like a ritual that would mark one’s readiness to open up or receive the other. To put oneself in the head of the other as to put oneself in The skins from others with the skin of the others implies to think in one’s own place. What your hand are telling me is part of this same movement by extracting the lines of the hand and materialising them in aluminium. Lines of life which, like jacks, are as much a bet on the future as the ambition to enter the life of the other through the surface. The different protocols that Fanny Gicquel thinks of lead us to manifest a link, to make explicit the intention behind a simple gesture and in the journey towards the other to go to the borders of empathy and violence.
The hand that caresses can also be the one that strikes. The glass fists of An Insecure Hand undoubtedly contribute to the ambiguity of the whole installation. Without fingers, this counter-form, which acts like a glove, makes the person wearing it clumsy. A hand without fingers, two hands without fingers, is like having two left hands that do not allow one to sign, to communicate through the sign. A boxer would say that it is the most direct access to the other, through the blow. The touch of the fists is blunt, it suffocates at the same time as it embraces. The fight does not prevent a form of tenderness, the ambiguity of a feeling in the body to body. The person who wears them carries the difficulty of expressing himself without hurting the other person. Is it a prosthesis or a handicap? Glass makes what has no outline shine. It has no consciousness but manifests and amplifies the impulses that run through us. There is always an impression of fragility with glass. Even more so when you hang up the gloves, when you tie them delicately to a rack.
Where does a waterfall stop? The loop of the installation thus acts as if it constantly allows for new rereadings, an opportunity to see what is tied up without ever really untying itself and to go to the limits of a text, to its doors, to its breaths. On the two large heat-sensitive plates of The Door between them, the sisters place flowers as in a herbarium. A way of gathering a moment, of sketching out another language perhaps, and of preserving a memory in a certain way. Slowly, Fanny Gicquel sponges hot water on these surfaces. As the water trickles down, the steam and fog render the shiny surface opaque, giving a breath of air to the odourless flowers. We no longer see the reflection but simply the presence. Here we are, for a moment, back to life, near the cataract.
One inhales, the other exhales.

Text Written by Elena Cardin (2022)

Fanny Gicquel creates mobile and delicate environments within which the viewer’s body is invited to move. Her installations appear as microcosms in which the different elements maintain mutually interdependent relationships. Placed on the floor or suspended from the ceiling, Fanny Gicquel’s objects, made of glass, metal or fabric, invite the viewer to touch them and aspire to create a form of intimacy with them. Her works thus exist in two phases, that of contemplation and that of manipulation, allowing her to explore the border between the animate and the inanimate. This also manifests itself in the experimentation with changing materials such as paraffin and heat-sensitive paint that escape a definitive form, evoking the impermanence and multiplicity of the things that surround us. 
The installations are always accompanied by activation scenarios devised by the artist and played out by performers. They interact with the objects in a discreet, or sometimes almost imperceptible way, to the point of creating images close to the tableau vivant, which invites slowing down and observation. 
For his new installation at the Frac Bretagne, the artist draws the outline of a moving and transitory landscape, inhabited by sculptures that enter into a direct relationship with the architecture of the place that receives them. Harmoniously arranged in the space, the works create a new syntax allowing the different materials to communicate subtly with each other and to dialogue with the viewer’s body.

Critical text (extract) About the exhibition «Les lézards» by Pierre Ruault.

Published on Revue 02 (2022)

The tour then continues with laloreleï, a poetic and sensitive installation by Frac prize-winning artist Fanny Gicquel. It is a composite environment that extends over the floor, walls and ceiling of the gallery. Four monochrome paintings in yellow, beige, green and brown are laid out on the floor in the centre of the space, some in a chromatic superimposition effect. On one of them are three very fine, small sculptures made from rings and geometric shapes in gold-plated brass: The Stars, tools of music by day and by night. At the edge of a window in the gallery, on the floor and against the wall, we look at an alignment of small paraffin spheres. These are the little lost planets, unique objects that contain organic elements that the artist has collected, such as strands of hair, pearls and flowers. There is also the organic-looking glass piece, Et mon corps est un asile ouvert toute la nuit, which is suspended from the ceiling and contains mysterious yellowish liquids at its ends. 
The strength of this installation lies in the fact that it is conceived as a plastic and relational syntax between each object, which maintains links of mutual interdependence and dialogue with the bodies it encounters. Forced to stoop, to look up, to walk around, the spectator is invited to experience his own bodily presence. This installation is also supported by an activation scenario. A performer slowly executes a variety of choreographic gestures, interacting with certain objects, which fall within the field of attention to the other. By spraying hot water with a sponge, the performer creates ephemeral forms of white drips on the sculpture Sensitive surface: thermotactile, an imposing black parallelepipedic monolith made from heat-sensitive paint. In her work, Fanny emphasises the power of time insofar as it continually changes the forms of things and beings, making it impossible to speak of a fixed identity.

TEXT

Questioning our relationship to space, time and things by Silvana Annicchiarico.
Published on Domus Magasine. Talent Section -N° 1072 (2022)

Fanny Gicquel creates environments, not objects. She invents worlds, artificial places where the body can experience another space and time. Poised between the performing arts and emotional and communicative design, Gicquel imagines universes not as statically inhabited places occupied by well-defined, partitioned object-entities, but as spaces of osmosis and exchange: dynamic constellations of combinations, hybrids and interferences. In her work, bodies interact with wearable objects that can change or be manipulated, all striving to define experiences of reciprocity between the self and the other, internal and external, human and non human. Through choreographed performances, the designer makes the bodies of her performers move among objects that abhor immutability. Whether they are glass vases set among groups of steel sculptures or words that appear then disappear in multilingual anagrams and palindromes, her objects – in her own words – “are all active, changing, escaping a definitive form to highlight the impermanence of the things around us and to testify to the fragility of the world.”
Born in 1992 in Rennes, France, 30-year- old Gicquel has exhibited in France and Canada and, from June to October 2022, staged her second solo show at Hua International Gallery in Beijing, where she endeavoured to create situations that question and reveal the porosity and ambiguity between intimate and impersonal, inwardness and outwardness, reality and make-believe, sweetness and violence, constriction and freedom. Attentive to the connections between the forms of things (one of her videos explores the relationship between a snail shell and an ear cavity), she articulates an investigation based on cultured references – from Gaston Bachelard to Fernando Pessoa – to question our approach to space, time and things.

TEXT

L’âme de fond About solo exhibition «Des éclats [sharps] » by Anne-Lou Vicente (2020)

«In its simple, natural, primitive form, far from any aesthetic ambition and any metaphysics, poetry is a joy of the breath, the obvious happiness of breathing. The poetic breath, before being a metaphor, is a reality that one could find in the life of the poem if one wanted to follow the lessons of the aerial material imagination.»(1)
Romanticism has made a common place out of the landscape-state of mind, subject respectively to the variability of elements and feelings. (É) moved by the force of the waves, seascape and human soul undoubtedly share a certain uneasiness (2) and the same meaning, in (de) finite. More concretely, the sea and the body appear as living organisms traversed, animated by the air, an element whose poetic and cinematic essence and power must be emphasized.
These three entities of the body, the sea and the breath constitute the pillars of Fanny Gicquel’s exhibition presented at Passerelle in the form of an installation-video-performance entirely bathed in poetry. And for good reason, its main anchor point is none other than the poem Ode maritime signed Álvaro de Campos (1890-1935). This Glasgow-trained naval engineer is in a way the repository of the maritime impressions of one who knew how to handle the art of heteronymy like no one else: the Portuguese author Fernando Pessoa (3). Building a bridge between Lisbon and Brest, two port cities facing the open sea, the artist focused in particular on the first of three parts of this long prose poem in which the author, observing the Tagus which opens towards the oceanic horizon, rocked by the comings and goings of boats and the fertile imagination of departures and arrivals, delivers a sensory approach to the marine element.
Ten verses were extracted from it, the ambient presence of which in the exhibition turns out to be neither audible nor readable (4), but visible and sensitive through different mediums - video, sculpture and performance (5) - which distill the version. semaphoric. What could be more natural than a marine language to «translate» these lines with bluish reflections? Falling into the same obsolescence as semaphores, these observation posts of the French Navy overlooking seas and oceans, this coded language consisted of signals emitted by means of arms equipped with flags, each letter of the Latin alphabet corresponding to a position specific.
From this body language - and therefore, non-verbal - both chthonic and aerial (6), Fanny Gicquel has thus composed (7) an elementary choreography consisting of a series of minimalist gestures essentially articulated around the breath, interpreted by several students of the EESAB in Brest (8). By its binary movement and rhythm - inspiration / expiration -, breathing recalls the dual character of so many natural rituals (surf and tides, sunrise and sunset, day and night, etc.) at the same time as it summons, while incorporating it, the dialectic of the inside and the outside (9), like two communicating vessels.
Shot outdoors during the day on the Crozon peninsula, the film Immensity with you consists of a succession of still shots like so many living tableaux giving to see, immersed in nature, the community of performers secretly declaiming the verses. chosen from Maritime Ode, to handle and wear certain accessory objects - which we (re) find in the exhibition - which operate less as signs than as hyphens and points of contact between bodies and the landscape. We forget the reflex of sense to let ourselves be carried away by the sensuality of images, faces and gestures, the communicative energy of bodies and of nature which breathe in unison (10). It is the breath that speaks, that listens, flows and exudes beyond the space-time of the film itself. The slow and deep breathing that constitutes its soothing and hypnotic soundtrack gives its pulse to the exhibition (11) composed in a fragmentary, even indicative fashion. Slowly, piece by piece, shot by shot, sequence by sequence, unfolds the setting within which is replayed - and re-read - the poetic landscape, populated by «interactive» objects and bodies.
The lines arranged in the scenic space draw a free course, a multi-lane scenario, a diffracted visual narrative. In front of us, a cloudy horizon stretches out: the steel sculpture I want to leave with you, wherever you have been takes up and materializes the outline in semaphoric language of this same line of maritime Ode. As we approach it, we perceive on the white surface of the wall tiny bluish tears which “betray” the presence of a line of blue pigment hidden behind the metal line which reminds us that the horizon, sky and sea merge by infra-thin.
As slight as they are, the drips testify to a gesture, to an action whose thread can be traced: on the ground lies a sponge still wet with the water with which it has swelled, collected in the imprint of a hand having hollowed out the porous material of a block of plaster. Evoking a plant element as much as a rising / setting sun, a frail fan carved from a copper-colored Plexiglas used in the manufacture of boat portholes to protect from glare rises at eye level, forming a potential filter on the landscape-exhibition. Tied to the ground (earth) and to the ceiling (sky / air), a black mirror reflects by flattening the space and what (ow) that is (re) there (s): it operates here like a binder between the different spatio-temporal strata of the exhibition, both from the point of view of its construction and of its unfolding (12), at the same time that it appears as the key interface of a reflection on the notions of presence and representation (13). Freely resuming the knot technique used for fishing nets, The fabric of my nerves consists of two screen curtains whose undulating and vibrating meshes, far from enclosing us, act as a floating threshold. Passed on the other side, in front of a sand / flesh-colored wall, a white grid stands out as if drawn in space on which hang four felt flag sleeves in the colors of the Crozon peninsula, occasionally worn by the performers in the film and during the various activations of the performance during the exhibition (14).
Multiplying points of view and lines of flight like the senses and strata of reading, traversed back and forth by a common breath, “Des éclats” works by “rebound”, associating the materiality of the objects-works-bodies in the presence. their “fleeting impressions” (15) as if to better amplify their degree of anchoring in the present and the real, but also, and above all, the power of (retro) projection - and motion - imaginary and poetic. Available in multiple displacements, transformations and other spatial and temporal translations, bodies, elements, images, words, materials, objects, flows and (im) perceptible phenomena communicate silently with each other and come alive indefinitely according to their multiple correspondences.

Anne-Lou Vicente

(1) Gaston Bachelard, L’air et les songes, Essay on the imagination of movement, chap. XII “La déclamation muette”, Paris, Librairie José Corti, p. 271.
(2) In reference to the posthumous work of Fernando Pessoa (under the heteronym of Bernardo Soares), The Book of Tranquility. The first words of Jean-Christophe Bailly in L’Élargissement du poème (Paris, Christian Bourgois, 2015) refer to it, as well as to the landscape-state of soul. See p. 13: “Very early on, the lesson of German romanticism, entirely nourished by Schelling’s Naturphilosophy, was forgotten, and by the networking of all existences, which it illustrated by ricochets and echoes, s’ a bourgeois version of effusion is substituted, of which Lamartine’s famous question on ‘inanimate’ objects undoubtedly constitutes the culmination. «
(3) In Portuguese, “pessoa” means “person”. Read Iooss Filomena, “The heteronymy of Fernando Pessoa. No one and so many beings at the same time «, Psychoanalysis, 2009/1 (n ° 14), p. 113-128 https://www.cairn.info/revue-psychanalyse-2009-1-page-113.htm See also Jean-Christophe Bailly, op. cit., p. 163: “The pronominal scene does not put fixed ‘pronominalities’ opposite one another, it is arranged like the space of a sort of permanent crossfade where each position, held for a moment by such and such a being, would only be ‘a notch, both on the path of what composes it as a singularity, and on that of what exposes it to encounter other singularities, themselves similarly engaged in their own composition ”.
(4) Note, however, that the ten lines in question are recorded on one of the labels in the exhibition, each line being associated with the performer who selected it. Let’s remember them here: Washed out by so much immensity poured into her eyes; With the painful sweetness that rises in me like nausea; My feverish desires burst into foam; The mystery of each departure and each arrival; And the tissue of my nerves a net that dries on the beach; Ah anyway, anywhere to go; Live trembling in the instant of eternal waters; From the ancestral fear of straying and leaving; All this fine seduction creeps into my blood; And deep inside me slowly begins to turn a steering wheel.
(5) If video is a new path taken by the artist on the occasion of this residency-exhibition at Passerelle, sculpture, installation and performance constitute the preferred mediums of his practice where the setting in space and in contact through the body which activates and moves, thus highlighting notions such as movement, circulation and exchange.
(6) The feet are on the ground and the legs remain stationary. Only the arms move and stir the air. The upright position emphasizes the «air column» that runs through the upper body.
(7) Note that translation and composition go hand in hand here with a certain margin of interpretation and improvisation, both in terms of writing and performance.
(8) About this collaboration with students and more broadly, the course of the residency, read the interview http://www.leschantiers-residence.com/fanny-gicquel/
(9) A dialectic already at work in the notion of landscape-state of mind. Read Gaston Bachelard, The poetics of space, 1957, Paris, Quadrige PUF (6th edition, 1994), chap. IX, p. 191-207. «The below and the beyond silently repeat the dialectic of the inside and the outside: everything takes shape, even the infinite», p. 192.
(10) Note here the importance of touch. The analogy between body and landscape / nature here borders on their «fusion» symbolically illustrated by the collage visible on the back of the mirror in the exhibition space, which combines the outlines of a mass of united bodies (visible in the video and repeated during the performance) to the material of the rocks of the tip of Pen-Hir, in the Crozon peninsula.
(11) It should be noted that the film, if it is partially visible and audible by the visitor upon arrival - directly although from a distance, but also by «ricochet» via its reflection in the mirror in the first room -, is presented at the back of the second room.
(12) These layers, porous or even intertwined, could be those that form, without any fixed order, the film, the exhibition and the performance. Activated every Tuesday at 7 p.m. and on the third Saturday of the month at 3:30 p.m., the performance physically reintroduces the bodies (re) present continuously into the exhibition space via / in the film. By reflecting them, the mirror embraces them in the same time-image in which our own body can find its place.
(13) The different known meanings of representation here include the literal one of putting back in the present tense.
(14) We inevitably think of the work designed by German artist Franz Erhard Walther in the 1960s, between post-minimalist soft sculpture, clothing and performative ritual. http://i-ac.eu/fr/artistes/1241_franz-erhard-walther
(15) See Clément Rosset, Impressions fugitives. The shadow, the reflection, the echo, Paris, Minuit, 2004.

CONTACT

07/03/1992
Work and live in Rennes (FR)
fanny_gicquel@outlook.fr
+33623660730
fannygicquel.com
IG
Represented by HUA International (Berlin-Beijing)

EXPOSITION INDIVIDUELLE / SOLO SHOW

2021

do you feel the same, Galerie Hua International, Berlin - DE

SOLO EXHIBITIONS

upcom

upcoming title, Temple Bar Gallery+Studio, Dublin-IE

2022

now, and then, Hua International Gallery, Beijing- CH

2021

UNWORLDING , Frieze, London ( solobooth) - UK
Curated by Cédric Fauq
Do you feel the same, Hua International Gallery, Berlin- DE

2020

Toute forme garde une trace de vie, The left right place, Reims - FR
Des éclats , Passerelle, Center for Contemporary Art, Brest - FR

GROUP EXHIBITIONS

upcoming

An imagination of Total Bodily Autonomy, Galerie im Saalbau Berlin -DE
Curated by Nina Kraus

2023

Co-existence, 1st Biejing Art Contemporary Biennale, Beijing - CH

2022

Les lézards, Exhibition - Art Norac Prize, FRAC Bretagne - FR
Curated by Elena Cardin
Soft Machines, Hua International Gallery, Berlin - DE
Diving deep for ight into darkness, Beiqiu Museum of Contemporary Art -CH
Curated by Tiange Yang

2021

Kratt, l’ombre d’un météore, Buropolis, Marseille- FR
Curated by Le 4
Hallen#2- Yes to all, K60, Wilhelm Hallen, Berlin - DE
Le rayon vert, summer research cycle and digital exhibition - FR
Curated by Henri Guette
Hostcall, Open School Gallery, Nantes - FR
Tsundoku, Collège Jean Lurçat, Lorient-FR Curated by Le 4
Screening Sculpture, travelling exhibition, London to St Petersburg Curated by Ania Soko and Georgia Stephenson
10e Prix de la Jeune Création de Saint-Rémy, Saint-Rémy - FR

2020

Touching Feeling, Hua International Gallery, Beijing-CH
Walking In Ice, Hua International Gallery, Berlin- DE

• Machine ronde* , Loto Artist Run Space, Bruxelles - BE

  2019

  Crossroad 3px2p , Musée des Beaux-Arts, Rennes - FR
  RE - OX , Galerie Loire, Nantes - FR
  Emergence, Galerie Pictura, Cesson-Sévigné – FR

  2018

  Cosmorama , Museum of Fine Arts, Rennes-FR
  Katapeltes , International House of Rennes-FR
  Curated by Collectif Uklukk

FESTIVAL AND PERFORMANCE

2022

Occuper l’espace, Postal Museum, Paris - FR
Curated by Dominique Blais

2021

Festival Ausufern, Uferstudios, Berlin-DE
Curated by Sandhya Daemgen and Eva-Maria Hoerster
Chronométrie, Festival Art Souterrain, Montréal-CA Curated by Nathalie Bachand and Dulce Pinzon

2019

In - ouï.e, performance and poetry, ALASKA, Rennes-FR
Curated by Collectif Uklukk
Festival Excentricités , ISBA Besançon et Frac Franche-Comté – FR

RESIDENCIES

2023

The Art Critic’s Archive, Research and Creation Residency, Rennes

2022

Fieldwork Marfa, Marfa, Texas-US
Coup de Pouce, Le Bel ordinaire, Pau

2021

Tempête, Association Finis Terrae, Ile Stagadon

2020

Hôtel Experimenta, Salon-la-Tour
Les Chantiers, Passerelle, Center for Contemporary Art, Brest

2019

Residency, primary school, Rennes

MULTIDISCIPLINARY AND COLLABORATIVE PROJECTS

2021

L’eau d’ici, artistic and educational project, research residency at La Criée Centre d’Art Contemporain and Kunstverein Haus 8, Kiels. By invitation of the collectiveUklukk-FR-DE
Tempête, residence with a social and artistic dimension with a public in reintegration, Association Finis Terrae and Association AJD, Ile Stagadon and Aber Wrach shipyard -FR

2019

CRLT, collaboration with Vincent-Michael Vallet and the company Pilot Fishes, realization and follow-up of a participative process on a choreographic piece in progress, exhibition-restitution, Festival Agitato, Le Triangle-FR

EXHIBITION CURATOR

2021

Transitoire: Point d’équilibre, Les ateliers de la ville en bois, Nantes-FR
Pendant ce temps dehors, co-curated with Alice Delanghe and the complicity of Ann Stouvenel and Marcel Dinahet, Screening: AJD (Finistère), Poush Manifesto ( Paris )

2019

Transitoire: Le kiosque, Rennes-FR

TEACHING, WORKSHOPS AND CONFERENCES

upcoming

Orange Rouge Participation à la saison 2024
Curated by Corinne Digard et Alexandra Goullier Lhomme
Workshop: From body to object, from object to body, Cyclorama, Rennes

2022

The workshop of experiments, family workshops, 2021-2022, FRAC Bretagne
Conference on professional practices, Ecole Européenne Supérieur d’Art de Bretagne, Rennes,Lorient, Quimper and Brest sites. On an invitation by Documents d’artistes Bretagne
Workshop: The performative object, Ecole Européenne Supérieur d’Art de Bretagne,Site de Rennes

2021

Conference, Ecole Européenne Supérieur d’Art de Bretagne, Lorient
Workshop: The performative object as a vector of narrative, Ecole Européenne Supérieur d’Art de Bretagne,Site de Lorient
Workshop: The performative object in its relation to body and movement, Ecole Européenne Supérieur d’Art de Bretagne, Site de Brest

2020

Conference, Ecole Européenne Supérieur d’Art de Bretagne,Brest
Conference women artists, Before Sunrise x Quinconce Gallery

EDITIONS AND MULTIPLES

2022

Risography, 79 copies, Grand Royal Studio x Média Graphic x L’endroit Edition

2021

Teeesssage, t-shirt, 25 ex, Palette-Palette
An edition at sea, 40 copies, in collaboration with Alice Delanghe, Finis terrae

2020

Pop-Up: Collaborative production and loan of works to play with, object for young audiences, Passerelle Center for Contemporary Art, Brest
Immensity, scarf, 25 ex, Label Phenüm

FAIRS

2022

NAFI, Nanjing International Art Fair, Nanjing - CH
Westbund, International Art Fair, (duo-booth), Shanghai - CH
ARCO, International Art Fair, (duo-booth) Madrid - SP

2021

AMT SALON, Berlin Art Fair, Berlin - DE
Westbund, International Art Fair, Shanghai - CH
Beijing Contemporary Art, International Art Fair, Beijing - CH
Frieze London, International Art Fair, (solo booth) Angleterre ENG
Curated by Cédric Fauq

2020

NAFI, International Art Fair, Nanjing - CH

GRANTS

2022

Winner Prix Art Norac FRAC Bretagne
Winner Gallery Weekend Beijing Best Exhibition Reward

2021

Winner of the Marfa-Hostcall Prize, Nantes
Selected for the 10th Prix de la Jeune Création de Saint-Rémy
DRAC Bretagne grant and support from the regional council of Brittany for the project in the framework of the Tempête residency with the association Finis terrae
Grant to support creation, City of Rennes

COLLECTION

Private collection ( Chine, Etat-Unis, France, Angleterre, Allemagne, Espagne)

FORMATIONS

2018

Art Master with congratulations of the jury, School of fine arts, Rennes - FR

2016

Art Licence with congratulations of the jury, School of fine arts, Rennes - FR

OTHER

Co-founding member association B612
Member association Finis terrae

PUBLICATIONS AND PRESSES

Revue 02 Text by Pierre Ruault
OuestFrance Article by Agnes Le Morvan
Le mensuel de Rennes Interview with Julien Joly - N°152
Domus Text by Silvana Annicchiarico - N°1072
Jeune Critique d’art_Yaci International - Text by Henri Guette
Figaro Madame - Chinese edition- May 2022 p.144-145
Mousse Magasine
yyyymmdd
Contemporary art Daily
Comfort Magazine - Chinese edition p.89-93
Art ba-ba
Art Forum
Spike Art Magazine
Art viewer - special feature Arco Madrid 2022
Frieze London Interview video
Artnews- 10 best booths in Frieze London
Ocula
Artnet
Revue opium n°9 Faire corps -visuel p.80-83
Article, Ladies drawing club, revue n° 11 «Screening Sculptures»
Hostcall 2 interview vidéo
D’excentricité(s), 10 ans de rencontres étudiantes de la performance, Aurore Desprès
Moussemagazine
L’Observatoire Magazine
Artistes Manifestes
Contemporary Art Daily
Art Viewer
Point Contemporain, interview with Pierre Ruault
Documents d’artistes Bretagne, Interview vieo
Re-ox, Fan-magazin, Exhibition catalog, p16
Cosmorama, exhibition catalog, published by the Museum of fine art, Rennes, 2018
Kostar magazine, number 57 October November 2017 p.49

Fanny Gicquel