© DR
© DR

Frac Franche-Comté

Since 2013, the Frac Franche-Comté has been located in the Cité des Arts in Besançon, a culture centre also home to the CRR Regional Conservatoire music academy. The first building to be commissioned by the French state from Kengo Kuma, the Cité des Arts reflects the surrounding landscape while remaining rooted in the city’s history. Set on the banks of the river Doubs and surrounded by bastions that bear witness to the age of the great French engineer Vauban’s fortifications, the building includes a refurbished brick section, a relic of the old river port.

It is here that the Frac holds exhibitions based on its collection, as well as a multidisciplinary cultural agenda. A wide array of events are on offer to visitors, including meetings with artists, public lectures, performances, video nights, concerts and dance.

à remplir
à remplir

‘Centrifugal’ in nature, the Frac collection is disseminated throughout the region and is the subject of numerous loans in France and abroad. Since 2015, a truck converted into an art space known as ‘Le Satellite’ has acted as a travelling exhibition, taking art to those who are far from cultural centres.

In line with its aim to raise awareness of contemporary art, the Frac places particular emphasis on guiding the public through their discovery of the works. A range of resources are available for visitors, including exhibition booklets, booklets adapted to disabled visitors, activity booklets, FracBox for children, as well as information sheets in Braille and hands-on models. Cultural outreach is seen as an open and interactive conversation and is tailored to suit each individual.

Sylvie Zavatta © DR
Sylvie Zavatta © DR

Some sense of perseverance, of resistance 

Since 2006, the Frac Franche-Comté collection has revolved around the notion of time. In 2017, the Frac acquired a work by Elisabeth S. Clark entitled ‘A Spark Kept Alight’; flickering across the space above our heads is a subtle, fleeting spark. This work bears some resemblance to György Ligeti’s ‘Poème symphonique pour 100 métronomes’, presented by the Frac in 2014. Anyone who attended this concert will remember its anthropomorphic dimension. Each metronome kept us on the edge of our seats. Each was like a human heart that seemed to be insisting, striving to be the last one to beat until there was complete silence. Like Ligeti’s work, Elisabeth S. Clark’s offering conjures up for me some sense of perseverance, of resistance.

And resistance was also the topic of the exhibition ‘Survivre ne suffit pas’ (‘Survival is insufficient’). Held at the Frac in 2019, it was a mixture of works from our collection and political and poetic overtones. Its title was taken from Station Eleven by Emily St-John Mandel. Published in 2014, this futuristic novel explored the importance of Culture for humankind, particularly in times of crisis, for it is through Culture that man is able to maintain or recover his humanity.

In 1966, British artist Peter Hutchinson wrote a short piece entitled ‘A Review from the Year 2066’. In it he described an age without artists and with no need for art. Yet for the author this was only possible because it was a fully developed utopia, a world devoid of injustice, poverty, war, borders, pandemics and climate or environmental threats. Until then…

— Sylvie Zavatta, Director of the Frac Franche-Comté

Sylvie Zavatta is an art historian and exhibition curator. She was director of the Frac Basse-Normandie from 1986 to 2001, then of ESBA Mans from 2001 to 2005.  She has been director of the Frac Franche-Comté since 2005.

Recent acquisition
Recent publication

Recent acquisition

Justine Emard, Co(AI)xistence

Justine Emard, Avec Mirai Moriyama & Alter (développé par Ishiguro Lab, Osaka University et Ikegami Lab, Tokyo University. Co(AI)xistence, 2017. Vidéoprojection couleur et son. Durée : 12’ Achat à l’artiste. Collection FRAC France-Comté.© Adagp, Paris, crédit photo : Mike Patten

Justine Emard, Avec Mirai Moriyama & Alter (développé par Ishiguro Lab, Osaka University et Ikegami Lab, Tokyo University. Co(AI)xistence, 2017. Vidéoprojection couleur et son. Durée : 12’ Achat à l’artiste. Collection FRAC France-Comté.© Adagp, Paris, crédit photo : Mike Patten
Justine Emard, Avec Mirai Moriyama & Alter (développé par Ishiguro Lab, Osaka University et Ikegami Lab, Tokyo University. Co(AI)xistence, 2017. Vidéoprojection couleur et son. Durée : 12’ Achat à l’artiste. Collection FRAC France-Comté.© Adagp, Paris, crédit photo : Mike Patten

Recent publication

Shimabuku – Cuban Samba Remix

L'historienne de l'art Fanny Drugeon livre une lecture d'une pièce emblématique de Shimabuku et aborde de façon plus générale le travail de l'artiste japonais et sa démarche.

Couverture Shimabuku – Cuban Samba Remix
Couverture Shimabuku – Cuban Samba Remix

La conférence ici retranscrite retrace les voyages de Shimabuku qui transforment la réalité. « On peut aller vers l'invisible, mais il est parfois difficile d'aller vers le visible », explique-t-il. Le quotidien, l'anodin, le presque rien, prennent chez lui une autre dimension. À la façon de Cuban Samba Remix (Remix by Kassin with Arto Lindsay), dont l'origine est une fuite d'eau dans un espace d'exposition à la Havane, ses œuvres naissent de constats poétiques teintés de rencontres musicales, culinaires ou animales.
Shimabuku (né en 1969 à Kobe) est un artiste qui parcourt le monde en accumulant les rencontres insolites. Renouant avec une esthétique de la dérive situationniste, il a étudié à Osaka puis à San Fransisco pour ensuite voyager dans différents ports du monde, au Japon, au Brésil, en France, aux Pays-Bas et aux États-Unis. L'artiste expéri­mente les interactions possibles avec le vivant afin de repousser les limites physiques ou imaginaires. Il crée les conditions de scénarios poétiques, dont il documente à la fois le processus et la réalisation. Performatives, parfois absurdes ou loufoques, ses interventions renouvèlent le regard que l'on porte sur le monde contemporain qu'il s'attache à mettre souvent sens dessus dessous.
Docteure en Histoire de l'art contemporain, Fanny Drugeon mène des recherches sur les questions de spiritualité, les interactions entre son et arts visuels, ainsi que sur la notion de déplacement. Elle a enseigné l'histoire de l'art en école d'art, à l'université et à l'École du Louvre. Elle écrit régulièrement dans des ouvrages et catalogues d'exposition, ainsi que dans des revues spécialisées. Elle est chercheuse associée au Labex Création, Arts et Patrimoines et au Laboratoire InTRU de l'Université François Rabelais (Tours) et membre de l'AICA (Association Internationale des Critiques d'art).

Technical acquisition committee

Daniele Balit
Doctor in history of contemporary arts, curator and teacher at ISBA school, Besançon , France
Olivier Kaeser
Art historian, curator, director of ARTA SPERTO
Chiara Parisi
Director of theCentre Pompidou-Metz, France
Estefanía Peñafiel Loaiza
Artist, in residency at the Villa Médicis 2020 - 2021, Rome, Italy
Sylvie Zavatta
Director of the Frac Franche-Comté

Administration

Patrick Ayache
President of the Frac Franche-Comté
Sylvie Zavatta
Director of the Frac Franche-Comté

Contact

Frac Franche-Comté
Cité des Arts
25 000 Besançon, France

contact@frac-franche-comte.fr
T +33 (0)3 81 87 87 40

Opening hours

MON
CLOSED
TUE
CLOSED
WED
2PM-6PM
THU
2PM-6PM
FRI
2PM-6PM
SAT
2PM-7PM
SUN
2PM-7PM
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