An introspective, meditative immersion, in the company of visual artists and musicians, aimed at experiencing a fourth temporality: neither the past nor the present, nor the but a vibrating dimension of «between parentheses.»

To walk into a three-dimensional book: this we are invited to
do by Anja Isabel Schneider who regards her exhibition as a
reading in itself, subject to interruptions and suspensions
generated by the architecture of the place. The selected works
examine the relations and interactions between the text and the
reader, the condition, the act, and the process of reading
which give rise to meaning.

First retrospective of the South-African artist in Europe. On this occasion, Berni Searle has been commissioned to create a new work, shot in Brugges. Interlaced, a triple screen video installation, in which the artist performs with gold leafed hands and black lace, could allude to the dark side of the history of the Belgian Congo, but also expresses a deeper sense of loss while questioning the status quo.
A trilingual catalogue outlines the origins of the film Interlaced and inscribes it in the broader context of Berni Searle’s work.

_{Texts of: Mirjam Westen, Julie McGee, Michel Dewilde
Graphic design: Joann & Sisters}

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The Timeline commonly governs our concept of History… with a beginning and an end! But what if its implacable logic is nothing but an illusion? Linear time, circular time, reversible time are all different ways of thinking of and dreaming the world and of putting an end to apocalyptic visions!

The eleven artists featured in the exhibition The Aesthetic of the Poles: A Testament of Ice at the FRAC this winter, will present a range of reflections and testimonies which, by confronting man with nature and himself, compel us to consider our own individual and collective responsibilities.
Catalogue in which initiatory journey and social utopias meet, and Being, once more becomes human. Purchase it before it’s gone!
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Forever exists by virtue of the convention which ties the artist to the FRAC Lorraine. The work takes the form of a webcam installed in one of the exhibition halls which potentially allows the artist to observe, non-stop and forever, whatever does or doesn’t happen in the room.

Permanent work

On the occasion of the exhibition Volando hacia la tierra / Flying down to Earth, MARCO and FRAC Lorraine have published a cuatrilingual catalogue (Galician-Spanish-French- English) edited by Inti Guerrero which gathers a number of essays by: Lucy Lippard, Cuauhtémoc Medina, Cosmin Costinas, Álvaro Díez Astete and Rasha Salti; artist’s text by José Alejandro Restrepo as well as the peculiar aesthetic, psychological and social theses by renowned playwright Samuel Beckett and controversial avant-garde artist Flávio de Carvalho.

_{Texts of: S. Beckett/A. Schneider, F. de Carvalho, C. Costinas, A. Díez Astete, I. Guerrero, L. Lippard, C. Medina, J.A. Restrepo, D. Rodrigues Amaro, R. Salti
Edition: MARCO – Museo de Arte Contemporánea de Vigo
Design: Dardo ds (Cristina Moralejo)}

In order to prolong the state of weightlessness inspired by the exhibition, to preserve a trace of these ephemeral and poetic encounters, and ease your return to reality…
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Carrying on from the 2 or 3 things I don’t know about her [2 ou 3 choses que j’ignore d’elles] exhibition, held in the spring of 2007, Frac Lorraine continues looking into notions of feminism, post- feminism and gender through a publication which is planned, not as a definitive or reference work, but as the reflection of the diversity of possible approaches and ways of thinking.
This project is conceived on the lines of a manifesto and includes 18 singular opinions, 18 views and commitments over a definition or a keyword specific to each contributor. The choice of writers, the opening up to authors working in different areas (artists, art critics, sociologists, writers, etc.), the European dimension of
these guests, echoes the work done by the Frac in recent years and to a constantly reasserted determination to sidestep the idea of any single view or thinking.
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The Moment that Never Ends…
Frail faces drawn in indian ink on a butterfly’s wings, gouache drawings on carbonized paper, crystal coats of armour, scenes and figures engraved with a pen nib in the lampblack of a crystal glass (...), Patrick Neu’s works are so many exercises in “sculptural funambulism”, combining “ambition and levity, apparent insignificance and gravity, perfect modesty and utter technical mastery” (Didier Semin). Challenging to our imagination, our understanding, his works cannot be reduced to their virtuosity and seduction. They offer first and foremost a meditation on time, a reflection on the transient, on the unavoidable and unforeseeable instability of things and of the moment.
This book reviews Patrick Neu’s career, and an œuvre in which “visual magic makes way for a lucidity that is the reverse of any re-enchantment” (Frédéric Wecker, art 21, winter 2008). This is the first monograph devoted to his work.
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A little more Shangri-La anyone ? Extend your stay in the « Country of the sacred and of peace », on the heights of Everest, with the show’s little red book. The artists guide us along paths leading to the ideal city and invite us to see whether Utopia is still alive and well there, and peace flourishing.
However, watch out for clichés : the artists rethink and take over this Asian, historical and philosophical heritage, up to and including the recent utopian and revolutionary offshoots, confronting us along the way with the ideological and exotic dimension of our view, thie eternal western model through which we seek to interpret the world.
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What alternatives, what recourse do we have when faced with the prevailing images and information and the official rhetoric ? How can we go about conveying and testifying to what is going on Now, Here, Over There in a different way ? Lida Abdul (Afghanistan) and Tania Bruguera (Cuba) respectively engage in a reflexion on their country’s situation. They break with the distancing of images and set about finding an answer, in the form of an action, performance, or physical commitment, whether it be through the artist’s body or that of the
viewer enlisted as a player.
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The book, seen as a space for reflection, takes a look back at some sixty key works in the Frac Lorraine collection. With productions by female artists, protocols for context-sensitive reactivation, performances, cinema and dance, the works question the very notion of the collection and attempt to roll back the limits to it.
This reflection is indissociable from the production work done by the Frac Lorraine; from its inscription within the public space of the region, to special interventions on site at 49 North 6 East, up to the invitation extended to artists within the space of the page, the Book recalls the important stages in the life of the institution!
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Antipodes plunges us into a redrawn landscape: from marine expanses to distant constellations, from minerality to the ethereal shapes of imaginary or real islands, the landscape is blurred in large-scale confusion. Certainties make way for new universes that question how we take in the world and the arbitrariness of conventions.
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In this high-speed age of information in real time, artists are inventing new time patterns. Making us think how absurd our conventions for measuring time are, questioning our rational systems, they suggest possible shifts, fresh approaches and – why not? – parallel dimensions of time.
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A monograph dedicated to Teresa Margolles’s radical existential projects in Frac Lorraine and Centre d’art contemporain in Brétigny in Spring 2005. Revisiting the codes of minimal and conceptual art, Teresa Margolles introduced death among the living and reinvented the modern vanity.
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This catalogue is sure to take you out of the routine with something exotic as it explores Switzerland and the Swiss mountains in people’s imagination! Quand les latitudes deviennent suisses (When Latitudes become Swiss) focuses on a questioning of the ideal view of the mountain and its landscape. Underlining the natural / artificial relationship, the installations and works contribute to the deconstruction of one idea of the sublime, even though the sublime is what we’re looking for.

The catalogue invites us to mull over questions addressed in the exhibition regarding notions of physical and mental limits, and to think about the way monumentality continues to haunt contemporary art and architectural practices.