Meeting with Claire Hannicq and Manon Harrois
Thursday 11 May 2023 from 14h to 15h30
At the Centre Pompidou-Metz
Wendel Amphitheatre
Free admission
In the presence of Florence Forin, Deputy Creative Director at DRAC Grand Est and Guy Tortosa, Inspector of Artistic Creation at the Ministry of Culture.
Dedicated to artists at the beginning and middle of their career, the Aides individuelles à la création (AIC) DRAC are intended to better support and develop creative activity. They make possible a creative or research project. Observing the routes in the Great East shows that projects supported by the commissions respond to a time of creation more than to its duration, not always doing justice to their creative potential.
In 2021, the two projects of Claire Hannicq and Manon Harrois attracted particular attention. These two artists have benefited from a grant and DRAC Grand Est Special Scholarship, intended to allow them to better show their work.
Claire Hannicq is a visual artist, co-founder of the'Faires workshop A graduate of HEAR Strasbourg and ESAL-Epinal, she explores the fields of the image through many subjects.
Willingly citing Gaston Bachelard or Roger Caillois with whom she feels close, Claire Hannicq looks at the immaterial and invisible of the human relationship, the one we share in the present and the one we inherit.
She settled in Arnould in the Vosges department.
Claire Hannicq has exhibitions in Canada at the Optica Art Centre in Montreal and at the Engramme Gallery in Quebec City, Switzerland at the World Fair and Projektraum M54 in Basel, Germany at the Kunsthaus L6 in Freiburg, Estonia at the EKA Gallery in Tallinn and at the Tartu Art House, in Sweden at the Grafik i Väst Gallery in Gothenburg.
In France she exhibited at the Synagogue of Delme, at FRAC Alsace, at the Kunsthalle of Mulhouse, at the Museum of Fine Arts and Archaeology of Besançon, at the Musée de l'Image d'Epinal and at the Musée de l'Imprimerie in Nantes and Lyon.
In 2023 she will exhibit at the Saarländisches Künstlerhaus and the Modern Gallery in Saarbrück.
His works are present in the collections of the Museum of Fine Arts and Archaeology of Besançon.
Manon Harrois, after studying art at ENSAAMA in Paris and an artistic stay in Niger, where she kept the imprint of ancestral rites, continued her journey in Chile and Portugal, then in the Czech Republic and Germany. She is now based in Troyes. Sculpting, drawing or performing are for Manon Harrois only revealing spaces.
The artist has made several artistic residencies: Residency Unlimited, NYC(2014); MAC Valdivia, CHILE (2015); Sharjah art Foundation, United Arab Emirates(2016); CNCM Caesarea, Reims (2015>2018); CAMAC, Marnay sur Seine (2016); Artist in residence, Clermont ferrand (2017); CAC/Passages, Troyes (2014 -2019); PORTA 33, Madeira, Portugal(2019); FRAC Champagne Ardenne(2020). Soon in residence at AIR 351 in 2024, Portugal.
Her work has been presented in France and abroad in places such as: CCFN Jean Rouch, NIAMEY, NIGER (2011); Abron Art Center, NYCUSA (2014); Artopia Gallery, Milan, Italy (2014); CAC/Passages, Troyes (2014 and 2019), MAC Valdivia, CHILE (2014); Premier Regard Gallery, Paris (2014), CNCM Caesarea, Reims (2016>2017); CAMAC (2016), Fundaçao Portugesa das Communicaçaoes and CBP Gallery, Lisbon (2018); Biennale ANO ZERO, Coimbra (2017); CIAJG, Guimaraes (2018); ARQUIPELAGO, Azores (2018); PORTA 33, Madeira (2020); Julio artist run space, Paris (2021); FRAC Champagne Ardenne, Reims (2018 and 2021); Studio Ganek, Mlis, Villeurbane(2021); Kai Erdmann Gallery, BERLIN (2022); RL52, Berlin (2022); Fundacao dom luis, Cascais, Portugal (2022); Zuostant, Berlin (2022); UMPRUM, Prague (2022), SixtyEight Art Institute, Copenhagen(2022), Galeria Foco, Lisbon (2023), Spoiler zone, Berlin (2023).
Personal exhibition coming in October 2023 at Second room, Antwerp, Belgium and in 2024 Galeria Foco, Lisbon, Portugal, 2024.
His work is present in the FRAC Champagne-Ardenne collection.
Round table discussion
The helpers are regularly asked about their ability to leverage for the future of an artist’s career. In the visual arts, professional integration is today synonymous with professional networks, many and of all types. Is this scholarship a way to work better?
This meeting will allow to question the effects of the aid to the creation and this scholarship on the path of artists in the Great East. Beyond financial support allowing the time of research and the realization of a production and while the path of visual artists is linked to economic uncertainty, to what extent do these aids effectively participate in the development of their paths?
The questioning will also pay equal attention to the dissemination of projects and their plastic quality. The cross-border position of the Great East is a potential for the dissemination of artists and their projects.
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