Catalogue monographique, 2000
Textes : Hubert Besacier, Emmanuel Latreille, Daniel Firman
Bilingue français / anglais, 88 pages, 21 x 24 cm, ill. n & bl. et coul.
ISBN 2-913994-00-8 Coédition Frac Bourgogne, Interface Dijon
Prix : 15 Euros

1:1 x temps, quantités, proportions et fuites
Group catalogue, 2007
Interviews: Eva González-Sancho § Frédéric Oyharçabal, Carla Lonzi, Sarah McFadden, Manuel Olveira, Anne Pontégnie, Antonella Soldaini, Mats Stjernstedt, Lise Viseux and the artists
Bilingual : french / english, 104 pages - 24 x 19 cm, ill. n. & b. and col.,
Biographies
ISBN: 978-2-913994-16-4

Price : 25 euros


The catalogue devoted to the exhibition 1:1 x temps, quantites, proportions et fuites(25.10.2003 to 20.12.2003 in Dijon) ushers in a series of publications about group shows held in the FRAC Bourgogne exhibition venue in Dijon--shows bringing together works from its collection and productions made specifically for the venue. It includes a series of interviews with the artists involved, conducted by art critics and exhibition curators, and an interview with Eva González-Sancho, director of the FRAC Bourgogne.
1:1 x temps, quantites, proportions et fuite is a “programme“ exhibition dealing with the artistic orientations of the FRAC Bourgogne, as they were defined by Eva González-Sancho when she took up her post in 2003. These orientations focus essentially on the exploration of the theme of space from several angles: the public space from the viewpoint of legislation, individual liberty, social linkage, architecture and city- or town-planning; and the issue of the exhibition space and its different parameters—production, time-frame, reception and social practice—for which this group show puts forward an approach.
The interview between Eva González-Sancho and Frederic Oyharçabal covers the different aspects of the exhibition and the working processes, both applied and called upon to be developed in future projects. It sketches the outlines of an exhibition and acquisitions policy which goes “beyond events”, based on an on-going accompaniment and follow-up of the artists’ work in relation to an editorial and publications policy marked by the temporal hindsight required by any production of writings about exhibitions.
The interviews with the artists do not focus solely on the works on view. The reader is invited to make his/her way inside the catalogue, and undertake constant to-ings and fro-ings between the different interviews and conversations, in order to see the goal of this publication gradually taking shape—a publication which strives not to “confine” the approach adopted by each artist within an idea, or theme.