The first stage of this Breton module led the listeners to the Ateliers des Capucins, located on the right bank of Brest. The visit of this former arsenal converted into a creative cultural district allowed to take the measure of the majesty and immensity of the place hosting many economic and cultural actors. Alain Lelièvre, director of the Société Publique Locale Ateliers des Capucins, told the story of this extraordinary opening and rehabilitation project, which took about thirty years.
Reza Salami, Deputy Mayor of Brest, in charge of cultural policy and the valorisation of tangible and intangible heritage and Yann Guével, Deputy Mayor of Brest, President of the SPL «Les Ateliers des Capucins» explained to the listeners the strong investment of the city of Brest on this symbolic place, considered today as the gateway to the Metropolis, so much its attractiveness is recognized. The venue was designed to accommodate events of all kinds: Comic Strip Festival, show by Boris Charmaz, quirky play (Les Gros patinnt bien) Rencontres Climat déclic... These are just a few examples of projects hosted at the Ateliers des Capucins. In terms of economic model, the creation of a local public company was privileged to manage this equipment. Elected officials stressed the strength of this model in the present case, which allowed to not have in the first years of commissioning immediate requirements of profitability, and to pass the COVID crisis.
Following this exchange provided on the overall project of the Capuchins, Caroline Raffin came to present the Fourneau, National Centre for Street Arts and Public Space that should move in a few months within the Ateliers des Capucins. Le Fourneau was born from an associative adventure led by the company Oposito, a pioneer in the street arts. Since the installation in a hangar of the port in 1994, the project has grown, and obtained certification and support from public partners by working for the creation of artistic projects in places not dedicated to culture, in rural areas as well as in the city, with as a corollary, the defence of freedom of expression and movement, as well as gratuitousness. Le Fourneau has partnered with the Centre d'art contemporain to prepare the opening of the Ateliers des Capucins through numerous artistic activities
The beginning of the afternoon was devoted to the presentation and visit of the Capucins media library by Bénédicte Jarry, director of the Brest media library network and Frédérique Morice, deputy director of the network, and head of the Capucins media library. This new equipment brings together 3 old media libraries and makes it possible to offer many enriched services to the people of Brest (documentary centre on employment and training, video game space, heritage fund, youth space, Breton language fund, etc.)
Following this visit, the group of auditors was able to discover an exemplary project of long-term cooperation between researchers, artists, and cultural places with the SONARS project leaders. Laurent Chauvaud, Research Director at the CNRS, Maëlle Le Gouefflec, Director of La Carène, SMAC of Brest, Gwen Potard, Deputy Director of Culture Animation, Brest Métropole, City of Brest and François Joncour, The musicians came to testify to this adventure, which made it possible to listen literally to marine biodiversity, and to make the fundamental issue of its preservation sensitive, through art.
The group then headed towards the PAM, a new third place on the right bank of Brest installed after work in the premises of the former Armorican Morlaisian Stationery. Sophie Caradec, Antoine Horellou and Benjamin Grebot, co-founders and associate co-founders of the WFP, explained how this collective place, born of a private initiative that keeps the spirit of the old activity, both by being the depository of many presses, posters, lithographic stones and typographic characters, but also with the slogan «Print the future». The place allows many activities to unfold and rub shoulders: restaurant, brewery, bakery, art galleries, solidarity bookstore, dance school, coworking spaces, etc. , but also a whole program of cultural events and time to reflect on transitions.
The evening was devoted to the choice of the name of this class 2022-2023. Twenty proposals had been made. After friendly and lively debates, and a final round of voting between the two finalists, Jean Zay and Fluxus, the choice fell on Fluxus, for what this collective artistic adventure says of another relationship to the established categories of creation, but also of another relation to time, where the research process counts as much if not more than the outcome and the result.
The second day of this module took the Fluxus promotion to Morlaix. Jean-Paul Vermot, Mayor of Morlaix and President of the agglomeration community recalled the history of this territory long devoted to flax culture. This flourishing economy contributed to the birth of a rich cultural life. This industrial city was also marked by the installation under Louis XV of the Royal tobacco factory. At the closing in 2001 of the last workshops the local actors wondered about the future of this place. The decision to buy the building by the municipality and the exceptional energy of three project holders allowed the rehabilitation of a first part of the building to install the SEW, an original cultural complex composed of Salamander, arthouse cinema, the Wart, a key player in electronic music and the Centre National de la Création Adapté.
Thierry Seguin, director of the National Centre for Adapted Creation, co-director of SEW proposed a tour of the premises of SEW and its extraordinary cinemas.
Then, Michel Cabaret, director of the Rennes science space, and Marie-Laure Brandily, in charge of the creation project of the Manufacture, antenna of the Sciences space in Morlaix, which is scheduled to open in 2024 and which will allow to deploy a rich mediation on the industrial history of this territory, but also to propose a permanent exhibition of scientific mediation on many topics, conducted a site visit and discussed with participants.
In the afternoon, thanks to the cross-interventions of Madeleine Louarn, director, founder of the Théâtre de l'Entresort and Thierry Seguin, current director of the National Centre for Adapted Creation, co-director of the SEW, allowed to return on the pioneering history of the theater of Entresort which led a theatrical experiment in the long run with disabled people become actresses of theater, and which has become, after an institutional recognition of the major issues raised by this initiative, the National Centre for Adapted Creation.
Following this rich exchange, a round table was proposed to listeners on ways to engage a cultural project in the ecological transition. Eddy Pierres, director of WART, co-director of SEW, explained his choice to reduce the sail of the Panorama festival, going from an event traditionally gathering 30,000 spectators to a more local festival, thus less energy consuming. Maryline Lair, Director of the Festival Collective of Brittany, then explained how this network funded by both the State and local authorities accompanies the festivals, and soon other cultural structures, in all their sustainable and solidarity development approaches integrating not only strictly environmental topics but also societal issues related to the quality of the relationship with people, whether audiences, artists or staff.
To close the day, Hubert Coudurier, Director of Information of the Telegram, whose head office is in Morlaix, came to meet the listeners and present the media group, heavyweight in the landscape of the regional daily press.
The third day, built with Emmanuel Ethis, Rector of the Academy of Rennes, Vice-President of the High Council for Artistic Education was devoted to artistic and cultural education and took place in Guingamp, at the Institut national supérieur de l'éducation artistique et culturelle (INSEAC).
INSEAC opened in 2021, in a former prison classified as a historical monument, fully rehabilitated and also hosting in its walls the Gwinzegal Photographic Art Center.
Heritage revives with an activity adapted to the challenges of its time, with the perspective of mixing uses: tourism on the heritage aspect of the building, cultural, but also teaching and research. The morning began with a presentation of the Gwinzegal Art Centre by Solange Reboul, co-director, and a historical tour of the former prison by Mr. Damien Malinas, INSEAC coordinator, and Emmanuel Laot, associate professor of geography history.
The last intervention of this day allowed Emmanuel Ethis to expose the strategy of deployment of the public policy of artistic and cultural education. The establishment of INSEAC has made the territory of Guingamp a place of experimentation and research on a real scale. Damien Malinas and Raphaël Roth, lecturers at INSEAC, presented the methodology and the first results of a long-term survey of schools, cultural institutions and stakeholders. This approach of implementation and feedback will then allow to imagine a deployment of good practices in other regions.
Cover photo credits: work of the street artist ZAG
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