Immersion at Frac Bretagne: Oniris Gallery Artists at the Heart of a Collection, from Floor to Ceiling
From November 6, 2026, to May 23, 2027, Frac Bretagne in Rennes presents nearly 300 artworks in a spectacular floor-to-ceiling installation. With Immersion – The Frac Bretagne Collection from Floor to Ceiling, an extensive renovation of the storage facilities becomes an opportunity to discover several decades of artistic creation from a fresh perspective. The exhibition invites visitors to view artworks without a predetermined hierarchy, discover unexpected connections, and freely explore the richness of a public collection.
For Oniris Gallery, based in Rennes since 1986, the exhibition also offers an opportunity to highlight artists whose careers have intersected with its history: François Morellet, Vera Molnar, Aurélie Nemours, François Perrodin, Julije Knifer, Marie-Thérèse Vacossin, Gottfried Honegger, Nicolas Chardon, Geneviève Asse, Christian Bonnefoi, Claude Viallat, Didier Mencoboni, Bruno Rousselot, Jean-Philippe Lemée, François Dilasser, Pierre Galopin, and Nikolas Fouré.
Their artistic explorations span geometric abstraction, color, light, gesture, materiality, and the possibilities of painting, offering numerous ways to understand the diversity of contemporary art. This artistic history also has an architectural dimension: the building designed by Odile Decq contributes to the visitor experience, fostering a dialogue between the artworks, the space, and the viewer.
A Collection Unveiled from Floor to Ceiling
How do you present a collection when the artworks it contains must temporarily leave their storage facilities? Frac Bretagne has chosen to turn this constraint into an exceptional opportunity to share its collection with the public.
Overseen by the Brittany Regional Council, the renovation of the painting storage facility aims to improve the conservation and security conditions for the artworks. This large-scale project requires a substantial transfer of works to other spaces.
Beginning November 6, 2026, the main gallery will therefore house a significant portion of the collection, assembled since the 1980s: nearly 300 artworks will be displayed side by side in a dense, edge-to-edge installation extending from floor to ceiling.
The result takes the form of a “highly ordered disorder.” The artworks are not arranged according to a strict chronology, classified by artistic movement, or ranked according to their reputation. Their formats and the available wall space determine their placement, opening the way to unexpected visual associations.
A geometric composition may respond to an expressive, gestural painting. One color may seem to extend into the work beside it. An abstract form may resonate with an image from an entirely different artistic universe.
This exhibition design challenges familiar viewing habits and invites everyone to create their own path through the exhibition. The eye moves freely, discovers affinities, pauses over a detail, or returns to an artwork that escaped notice on the first viewing.
The exhibition does not seek to impose a single interpretation of the collection. Instead, it offers a space for discovery in which connections emerge as visitors move through the gallery.
Oniris and Frac Bretagne: Two Key Players in Contemporary Art in Rennes
Since its founding in 1986, Oniris Gallery has contributed to the presentation and dissemination of contemporary art in Rennes by exhibiting artists with distinctive approaches. Its history intersects with numerous artistic explorations that have renewed painting and abstraction, as well as our perception of forms and colors.
François Morellet, Vera Molnar, Aurélie Nemours, Gottfried Honegger, and Julije Knifer offer particularly valuable perspectives on the different paths of geometric abstraction. Marie-Thérèse Vacossin, Geneviève Asse, Bruno Rousselot, and Didier Mencoboni invite viewers to explore the relationships between color, light, and perception. Christian Bonnefoi, Claude Viallat, and Nicolas Chardon each challenge the conventions of painting in their own way, examining its materiality and methods of construction.
The careers of François Perrodin, Jean-Philippe Lemée, François Dilasser, Pierre Galopin, and Nikolas Fouré broaden this perspective further, demonstrating the diversity of visual languages and approaches to imagery, surface, and space.
Bringing these artists into conversation with Immersion invites visitors to discover possible connections between different artistic approaches. It does not, however, mean that all of their works are necessarily included in the exhibition.
In their respective roles, the gallery and the public institution both contribute to the vitality of Rennes's art scene. The gallery supports artists' careers and fosters encounters between artists and audiences; the institution builds a collection, preserves it, circulates the works, and makes them accessible to the widest possible public.
François Morellet, Vera Molnar, and Gottfried Honegger: Order, Systems, and Freedom
Geometric abstraction occupies an important place in the history of contemporary art. It explores the possibilities of a visual language based on elementary shapes, lines, grids, and relationships between colors.
In François Morellet's work, systems and rules become tools for experimentation. The artist frequently introduces chance, disruptions, and humor into compositions that initially appear to follow a rigorous order. Geometry thus becomes a space for play, where method can produce unexpected results.
Vera Molnar, a pioneer of constructed art and digital art, also explores the limits of geometric systems. Starting with simple forms, she introduces variations, shifts, and slight irregularities that gradually transform the way an image is perceived.
Gottfried Honegger, a leading figure in Concrete Art, developed an artistic practice grounded in formal rigor and the autonomy of visual language. His compositions explore the relationships between structure, color, and perception, inviting viewers to consider each element both in its own right and in relation to the whole.
Together, these three approaches show that geometry is about more than the pursuit of perfect order. It provides a means of questioning the relationships between rules and intuition, repetition and difference, construction and freedom.
In an installation as dense as Immersion, these questions take on particular resonance: structures, rhythms, and forms can enter into dialogue beyond traditional classifications.
Aurélie Nemours and Marie-Thérèse Vacossin: Color as an Experience
In Aurélie Nemours's work, painting is grounded in a rigorous exploration of geometry, vertical and horizontal lines, and the organization of space. Her compositions invite viewers to observe the balance between forms, intervals, and colors.
Marie-Thérèse Vacossin also explores the possibilities of abstraction through chromatic interactions and perception. Relationships between colors create visual vibrations, contrasts, and harmonies that gradually reveal themselves to the viewer.
In these artistic practices, color is not merely a decorative element. It plays an essential role in constructing the artwork, alters the perception of forms, and transforms our experience of the painted surface.
These explorations find an interesting extension in the spirit of Immersion. When artworks are displayed alongside one another without strict thematic divisions, colors respond to each other from one painting to the next, creating new visual relationships. Viewers discover unexpected harmonies as well as contrasts that reinforce the distinctive character of each composition.
Julije Knifer, Nicolas Chardon, and Claude Viallat: Rethinking the Rules of Painting
Julije Knifer is particularly known for his meander motif, which he revisited and transformed throughout his career. This recurring form becomes a way to explore rhythm, duration, and the possibilities of a structure reduced to its essentials.
Nicolas Chardon revisits the conventions of geometric abstraction by introducing shifts and disruptions into compositions that appear regular. The tensions between the motif, the support, and the surface challenge painting's apparent stability.
Claude Viallat, a leading figure in the Supports/Surfaces movement, profoundly reshaped the understanding of painting by challenging its traditional conventions. His work places particular emphasis on the support, fabric, the repetition of a motif, and the material properties of paint. The canvas is no longer simply a surface on which to create an image; it becomes an integral component of the artwork.
Despite their distinct approaches, these three artists demonstrate that painting can continually reinvent its own rules. A repeated shape, a motif, or a support is never definitively exhausted; each can become the starting point for new explorations.
The installation of Immersion offers precisely this opportunity to discover such connections, bringing together works that transcend the usual boundaries between artistic movements and aesthetic categories.
Christian Bonnefoi, Bruno Rousselot, and Didier Mencoboni: Questioning Painting
Contemporary painting continually questions its own means and methods. The support, surface, material, gesture, and processes of construction become essential elements of artistic exploration.
Christian Bonnefoi notably explores the relationships between support and image, as well as the possibilities of collage and layering. His work invites viewers to consider the painting as a space for construction and transformation, where elements overlap and combine to create new visual relationships.
Bruno Rousselot develops an artistic practice centered on color, perception, and the structuring of pictorial space. His compositions reveal how forms and chromatic rhythms gradually shape the experience of a painting.
Didier Mencoboni explores the possibilities of abstract painting through investigations that place considerable emphasis on color, motifs, and their variations. Repetition becomes a means of generating differences, evolving forms, and transforming perception.
These approaches remind us that painting remains an open field of experimentation. Far from being a fixed language, it continues to evolve by questioning its materials, conventions, and the viewer's visual habits.
In Immersion, the proximity of the artworks offers a fresh perspective on these questions. The paintings respond to one another through their forms, colors, and techniques, revealing affinities that might not have emerged in a more conventional installation.
Geneviève Asse and François Dilasser: Light, Material, and Gesture
Geneviève Asse's work is distinguished by a sensitive exploration of color, particularly blue, and of the relationships between light, space, and surface. Her paintings invite close observation of nuances, transparencies, and subtle transitions between planes.
François Dilasser developed a distinctive pictorial universe characterized by the freedom of gesture, organic forms, and imaginary figures. His work reflects an intense relationship with materials and a remarkable freedom of invention.
Their very different approaches illustrate the diversity of contemporary painting. On one hand, a form of painting that explores light and depth through subtle variations; on the other, a visual language in which gesture and material open onto an expressive, imaginative world.
These approaches invite viewers to move beyond an overly simplistic opposition between geometric abstraction and gestural painting. They demonstrate how color, material, and perception can give rise to profoundly distinctive artistic universes.
The year 2026 also marks the centenary of François Dilasser's birth. Frac Bretagne has announced a presentation of works by the artist from its collection, running from November 6, 2026, to January 31, 2027. This initiative offers a particularly valuable opportunity to discover or rediscover his work within the context of the region's artistic scene.
François Perrodin, Jean-Philippe Lemée, Pierre Galopin, and Nikolas Fouré: A Diversity of Visual Languages
Artists François Perrodin, Jean-Philippe Lemée, Pierre Galopin, and Nikolas Fouré round out this overview of artistic practices whose paths have crossed that of Oniris Gallery.
Their artistic universes broaden the discussion of the different ways of approaching painting, imagery, and visual construction. They remind us that there is no single way to explore space or surface, but rather a plurality of artistic investigations that develop through experience and experimentation.
In the context of Immersion, this diversity encourages visitors to look beyond familiar categories. They can follow a color, compare shapes, observe relationships between materials, or discover an affinity between two artworks created in very different contexts.
The installation thus becomes a space for active discovery. Each juxtaposition can inspire a new interpretation, with every artwork considered both for its individuality and for its relationships with the others.
Odile Decq: Architecture That Extends the Artistic Experience
The experience of Immersion extends beyond the artworks displayed in the main gallery. It takes place within a building that itself contributes to the discovery of contemporary art.
Since 2012, Frac Bretagne has been housed in a building designed by architect Odile Decq, in the heart of Beauregard Park in Rennes. The building accommodates exhibition spaces, storage and conservation facilities, documentation resources, and areas for engaging with the public.
Its architecture combines materials including concrete, stainless steel, and glass. The sightlines, circulation routes, and walkways create a dynamic experience of the building, encouraging visitors to discover the spaces gradually and explore multiple viewpoints.
The building is therefore more than a simple container for artworks. It shapes how they are perceived, engaging visitors physically in the discovery of the space and constantly changing their perspectives. This dialogue between architecture and artistic creation extends into the park with L'Alignement du XXIe siècle, a monumental work by Aurélie Nemours. Together, the artworks and architecture invite visitors to experience the site as a place where art, architecture, and landscape interact. For visitors familiar with Oniris Gallery, this adds another dimension to the experience: a place where institutions, artists, and exhibition spaces collectively contribute to the vitality of contemporary art.
Two Seasons for a Fresh Perspective on the Collection
The exhibition Immersion unfolds over two seasons, each highlighting a particular aspect of Frac Bretagne's project.
→ First season: November 6, 2026, to January 31, 2027
The first season highlights the institution's many partnerships, its regional roots, and its nomadic identity.
It emphasizes how the collection takes shape through exchanges between artists, cultural organizations, and territories. It also reflects Frac Bretagne's commitment to circulating artworks and maintaining an ongoing dialogue with cultural organizations throughout Brittany.
This period is particularly marked by the centenary of François Dilasser's birth, alongside other initiatives exploring the relationships between Frac Bretagne and the region's arts organizations.
→ Second season: February 2 to May 23, 2027
The second season celebrates amateur artistic practices and participatory initiatives. It highlights the importance of projects that enable members of the public to take part in artistic and cultural life.
Throughout both seasons, visitors will be able to settle into discussion areas, watch a film, use an interactive kiosk to identify the artworks, and discover interpretive and listening resources provided by Frac Bretagne.
The visit thus becomes an opportunity for sharing and personal exploration. Everyone can take the time to look, compare, and return to the artworks that have caught their attention.
A Public Collection That Belongs to Everyone
Beyond its visual impact, Immersion highlights one of Frac Bretagne's essential missions: making contemporary art accessible and bringing a public collection to life beyond its storage facilities.
The renovation project creates an opportunity to share works with the public that are usually less visible. A technical constraint becomes a cultural offering, encouraging curiosity, encounters, and discovery.
For visitors familiar with Oniris Gallery, the exhibition is also an invitation to explore the artistic practices of François Morellet, Vera Molnar, Aurélie Nemours, François Perrodin, Julije Knifer, Marie-Thérèse Vacossin, Gottfried Honegger, Nicolas Chardon, Geneviève Asse, Christian Bonnefoi, Claude Viallat, Didier Mencoboni, Bruno Rousselot, Jean-Philippe Lemée, François Dilasser, Pierre Galopin, and Nikolas Fouré.
Their explorations of geometry, color, light, material, and perception demonstrate the richness of contemporary art's visual languages. In combination with Odile Decq's architecture, they broaden the discussion to consider how artworks inhabit a space and encounter their audiences.
From November 6, 2026, to May 23, 2027, Immersion – The Frac Bretagne Collection from Floor to Ceiling invites visitors to discover a living collection, explore the resonances between artworks, and develop a fresh perspective on contemporary art in Rennes.
An exhibition to visit, and then revisit, taking the time to discover the riches of a shared artistic heritage.
Visitor Information
- Exhibition: Immersion – The Frac Bretagne Collection from Floor to Ceiling
- Dates: November 6, 2026, to May 23, 2027
- First season: November 6, 2026, to January 31, 2027
- Second season: February 2 to May 23, 2027
- Venue: Frac Bretagne
- Address: 19 avenue André Mussat, 35000 Rennes, France
- Official website: www.fracbretagne.fr
