"In my confrontation at work, I feel totally free to go wherever I want without complex "
Rigeade Pascal is the Director of Creation Franche. I went to interview for the number of Area reviewed) e (of madness.
The Creation Museum Free (c) City of Bègles
How did the Museum of Creation Franche?
When Noel Noel Mamere became mayor of Bègles in 1989, he was in France the first Green elected to a city of more than thirty thousand inhabitants. It is a continuation of a communist majority, remained in control for thirty years. Gerard Sendrey, then a young retiree, was the Secretary General of the City. Knowing all the workings of municipal government, he was able to provide valuable assistance to the newly Mayor facing a government locked. Amateur folk art, Noel Mamere, when he was a journalist, he used to hunt around and return objects of its foreign reporting. As for Gerard Sendrey, himself a creator, he had a deep curiosity about art brut whom he had a place in his studio, alongside his own works. They met and shared taste for non-academic setting project was born of an exhibition, "The Gardeners of memory", quite unprecedented in terms of the proposal in what is could see in and around Bordeaux. It showed works of art brut and related, what would appoint Sendrey later "Creation Franche. "The Gardeners of memory" experienced a huge success, probably more related to the curiosity of the public wishing to approach the former presenter of France 2 1:00 p.m. than a deep interest in the work presentation. Whatever the reason, this success could not remain without result: Noel Mamere set thus providing a local Sendrey, which encouraged Thévoz by Michel, who was curator of the Museum of Art Crude Lausanne, began to develop a regular program of exhibitions. The "Free Website Creation" was born, he became a municipal museum in 1996. It is this history that continues to be written today with this unique gallery that is leaning against the museum, enabling us to offer temporary exhibitions. We are located in the heart of contemporary art in the sense that we show that living and creating, for which, incidentally and without any commercial aspect, we based intermediary between creators and visitors and / or collectors. Each year, we organize five solo exhibitions and international group exhibition in which we discover eight designers.
How the collection was it developed?
Collection Creation Franche account for three-one hundred to fourteen artists and nearly 13,000 works. We have an acquisition budget, satisfactory although modest, voted annually by City Council since our place is. But the collection has been developed primarily through donations. We operate a network: around the world, we have correspondents and partners, persons or structures, exercising a function of monitoring and warning. We also have an artistic advisory board composed of members resident in Europe, the united states and Oceania, attentive to what happens in their area and what would likely find a place in Bègles.
lonel Talpazan
Creation Franche Why this name?
When the adventure of Creation Franche began, there was no question Sendrey of the words "art brut" on his own. On the one hand because the Château Beaulieu wanted sole trustee of the term coined by Dubuffet and opposed to any use by a third party and secondly because Sendrey considered that the collection of primitive art and not meant could designate the collection assembled by Dubuffet, to which his death was ending. Finally because Creation Franche includes creation of a field more open than that defined by Art Brut and the words themselves, it seemed inappropriate. The term "art", used interchangeably to refer to martial arts, the noble art, culinary arts, domestic science ... He preferred the word "creation" which carries the idea of birth, bringing forth the essence of the creative act. As for "Free", it must be understood in the sense, now fallen into disuse, found in the expressions "have a free hand," "maverick", ie ie without constraints, freed, free. is a beautiful expression of great relevance. It is often next to the term Outsider Art created by Roger Cardinal, used to describe art brut and art related non-Francophone countries.
Evert Panis
What differentiates it from Art Brut?
Creation Franche is historically rooted in primitive art. In his manifesto "The Story of Creation Franche," published in 1998, Sendrey wrote: "The best definition Creation Franche lies in the answer to question 98 of" rambling "(published posthumously by Dubuffet) : there is not an art that crude would have its own characteristics, there are unlimited number of art forms, each with their different character, and whose only common point is to be based on criteria other than those based cultural art ". But if Dubuffet excluded outsider art all work under any folk tradition, naive art and children's art, Creation Franche however problematizes the relationship between art brut, naive art and folk art. It can encompass everything that results of creative activity within or beyond the agreed learning. In our collection we have, for example received the collection "Other Art", a gift of Claude Massé, who resides in Perpignan. During a part of his life, Claude Massé has traveled the countryside of south-eastern France, in search of creative cut. It was a unique collection, maintaining a regular correspondence with Dubuffet in which he was informed of his findings by issuing detailed instructions that Dubuffet commented in return. Some designers noticed by Claude Massé were also included in the Collection de l'Art Brut by Jean Dubuffet himself. Creation Franche, which broadens the scope of Art Brut, welcomed them in their entirety.
Andre Robillard (c) Pascal Rigeade
When you are asked to incorporate works to your collection, you will build on these criteria, but how to check the parameters of the life of someone a?
The simplest way, by questioning, by informing us if need be, in meeting the person as often as possible. We also solicit our network and put to good use in our research. Nothing else, in fact, in this phase in our work and that a shared curiosity, informed and active solidarity expressed disinterested.
For example, Gildas Baudry has entered into the collection, can you explain how it fits the criteria?
Gildas Baudry is a young adult who engages in various activities: circus, singing, painting, sculpture. The association follows alerted us and showed his drawings. Her work is arrived unexpectedly. Drawing is for him a means of escape from a daily dented. This allows him to ignore his condition unsatisfactory and all its shortcomings, to reconstruct the world as it pleases. In a plastic quality intrinsic work reflects a complete freedom of speech without concern of convenience with the established values. It therefore seemed as fitting naturally into the field of Creation Franche. Currently, in the same spirit and opportunity our international group exhibition, "Visions and creations dissident", we present an Italian, Giuseppe Barocchi, Tinaia The resident center at the psychiatric hospital of San Salvi, Florence. It creates an open space where he available a number of tools which he takes as he wants to make his own use. This is not an art therapy workshop, it receives no injunction and draws as his desire. We were very interested in his drawings and we wanted to show Bègles.
Gildas Baudry
Why look at this art? What is the difference inherent with classical art that would make so singular?
The first difference is that the pre-requisite, necessary in the "classical art" to use your words: knowledge of art history, learning technology; what Dubuffet called "false art, art artificial art copied [based] on the memory of the past." For our purposes, there is no aesthetic criteria laid from which it would be "outside" or "inside". There is however one can, in the eyes focused on the works, release consistency that is all.
What you please, in this art?
I find among creators francs vigor that I did not encounter in conventional forms that precede or that accompanies a remark which distorts the sensible approach. The impropriety that characterizes this work upsets me. It causes me set in motion an extremely motivating and fruitful because, in my confrontation at work, I feel totally free to go wherever I want without complex, let me wear. It is a very rich dialogue and an extraordinary freedom. Today I am very rarely sensitive to an academic or conventional technique, cared for, dressed, more or less loaded with an arsenal of history. I have no more interest in what can not exist without the user manual or the rationale for this is that the escalation of provocation that would be the foundation of creative genius. Here we touch the absolute discredit a form of contemporary art. To put it short, what interests me and really moves me is the disorder: its emergence, transcription of the disorder of the author's support for formatting.
What is the role of creativity in the lives of these people there? I'm forcing the merger with the artist whose job it is, who will regularly work with a sense of what it does. Create their
is an absolute necessity, vital. In most cases, creation is the equilibrium line on which their lives began to take shape, advance. A designer creates gross without intending to show his work and is also the most frequent case of French designers. We have no reason to think as each other, raw or candid, have not aware of what they engender in their hands, under their fingers, with their pencil, they felt, their pen or brush. However, at no time did they think of the post, they do not care any series may be given to their work. They are in the end, in the moment. Some, after filling the media, erase everything and start again. They can not imagine one second they realize something likely to interest the public, nor do they ORDINARILY any show of impatience. In contrast, the "job" as an artist seems to proceed in the manufacture and posture. While it may not be exclusive to a certain inventiveness but it reduces to a strictly economic dimension, functional, utilitarian or decorative. Production outside the scope of "wilderness values" dear to Dubuffet.
Hence the interest to speak of creation rather than art.
The term seems indeed evoke a less restrictive approach, more open. It leaves the opportunity for everyone to dare to do so without restraint hypothesis excluded de facto standard and conditions it lays claim to power "artist." semantics allows to markup practices, install the pretenders to the "craft artist" in a role and thereby assign a social function. It is a tool of law enforcement and therefore a significant obstacle to the initiative. Yet the creation occurs only outside constraints, without conditions.
How do artists react when they find themselves exposed at the Museum of Creation Franche?
designers move rather rarely. When this happens, the reactions are very diverse ranging from a push sometimes discretion to withdrawal, the joyous walkabout. Some are very surprised to see that their work interests and meet the demands they are subjected. In general, they are not in analysis or explanation in the narrative but rather detached from the subject, they talk about themselves, about themselves. For example, Andre Robillard was present at the opening of the exhibition we have him consecrated in 2009. Very comfortable, he went from room to room, available, exchanged with whom sought. He spoke no or very few of his guns and his drawings but rather opportunities for meetings and travel that they had caused, detailing how his day was altered. And when commenting on his work, was about an offbeat, almost as if he were a stranger to he had made or drawn. The created object was placed at a distance, without need for appropriation, without claim. Others are moving but do not mingle in public, watching, avoid contact, evade the gaze, is put down, although physically absent present.
Here we take the measure of the difference between the Creation Franche and classical art. The report of their work is changing everything. Similarly, the commodity relation, how is it planned? What do you think the case of Daniel Johnston, manic-depressive, and the fact that he is now recovered by the mainstream contemporary art galleries? In your opinion, does deviance?
We strongly outside the shop. The gallery backed the museum can offer works for sale, but we collected anything about the transaction. The settlement is payable to the creator and we remain very committed to this position of a mere accessory. The key for us is to help the flow of work, helping in this way the material condition of the creators that we present. We have with most of them a relationship of close proximity and is nurtured by continuous monitoring. But we are not and will never merchants. This is another work whose compatibility with raw art has often been debated, an issue that continues to stir the landerneau. However, at this point, I agree with the gallerist Christian Berst * when asked: "Why would we, echoing the requirements of Dubuffet, Art Brut as to keep its purity somehow escapes the laws of market? The moral perversion and compliance aesthetic they threaten when it comes to estimate the priceless? . As for Daniel Johnston, deemed creates the sound lo-fi, his drawings are a reflection of his music, and vice versa. The contemporary art galleries to which you refer do the job, they surf the buzz outisder-art consolidated by the image built on the musician. They seized his name to sell his paintings, as do commerce, a lazy exercise in the art. Everyone to enjoy and follow or not. However, what I know of Daniel Johnston leads me to believe that nothing will change nothing in his manner or his way of doing things. This taint nor its truth or authenticity nor its independence. The only certainty that I know is that, for a merchant, his drawings are more profitable than his music. Everyone to enjoy the opportunity to enroll or not in fashion.
* Galerie Christian Berst, Paris
