Les Ateliers de Rennes

Founded and directed by Bruno Caron, the Norac group in 2005 implemented a policy of patronage in contemporary art. Art Norac a non profit making association of the  "loi 1901" was set up to execute a series of sponorship events.

At the beginning of 2006, an invitation to tender was launched for the creation of an event on the theme of relations between art and business/economy. The targets were non profit making organisations active in the artistic domain and incorporating the necessary skills for the organisation of such an event. 

In July 2006, the proposal of the Art To Be association, led by Raphaële Jeune, was chosen by a selection committee which primarily united art professionals. In March 2007, the name Les Ateliers de Rennes - Contemporary Art Biennial was born, with the objective of linking the work of the business world with the work of the artist. The biennial exhibition was first held in 2008 under the title Valeurs Croisées (Crossed Values), and was held for the second time in 2010 under the title Ce Qui Vient (What Comes). As an artistic director and team are selected for two consecutive exhibitions, a committee to monitor the biennial event is put in place for a duration of four years; it is made up of representatives of Art Norac, public art partners and professionals from the contemporary art world.

In January 2010, the second Ateliers de Rennes competition was launched, with the aim of selecting a new artistic project and a new team for the 2012 and 2014 Ateliers de Rennes. The Lucidar association was selected by a jury from four finalist teams.


EXAMINING THE RELATIONS BETWEEN ART AND BUSINESS

The Ateliers de Rennes is the first biennal to take as its theme the relations between art and business and more broadly, between art and the economy.  Rich in questions and and creative possibilities, this link has always been a synonym for creative tension and power struggles between the sphere that retains the wealth and the artist's aesthetic, poetic and often critical attitude towards society.

Sponsors, foundations and companies have long participated in artistic creation through the purchase and commissioning of works of art or through the organisation and financement of exhibitions. These last years, some companies have asked artists to intervene directly in the creation of their products, with the objective of acquiring or improving  their image.
Economic competitiveness demands a state of permanent creativity, it capitalises on the symbolic production and the ideas of the artist. The artists on the other hand, acquire the means and techniques used by industry to produce and develop their work : new technology, communication, publicity, marketing…

More relevant than ever, the relation between art and economy is also an area of debate and confrontation.: mutually contributive, certainly, but also a place of friction and incompatible objectives. Can art be considered a capital? Can industry integrate the doubt and critical space of  art without being tempted to transform them into market values?