Céline Poulin

Director of FRAC Île-de-France

Céline Poulin has been director of the Frac Île-de-France since April 2023. She was previously director of the CAC Brétigny (from 2016 to 2023), for which she was responsible for the labeling as a center of contemporary art of national interest and where she developed a program involving artists, theorists and amateurs as true users of the premises. She was also vice-president of DCA, the French association for the development of contemporary art centers. Trained as a philosopher, curator and independent art critic, Céline Poulin has been in charge of the off-site programming of the Parc Saint-Léger and has been a guest curator at the Villa du Parc in Annemasse and at the DAZ in Berlin in partnership with the French Institute. She is a co-founding member of the curatorial research collective le Bureau/, which has organized a dozen exhibitions in France.

The exhibition L’Irrésolue brought by Anne-Lou Vincente to the eyes of the users of the Frac draws a portrait in hollow, made of clues to be assembled. The works of Nadia Belerique, Camille Brée, Eléonore Cheneau, Joanna Piotrowska, Leslie Thornton and Céline Vaché-Olivieri inhabit the space, between softness and slight unease. Nadia Belerique’s Slice combines rat traps and dollhouse elements, in a luminous atmosphere oscillating between the charm of the country house when the sun filters through the drawn curtains, and the anxiety of transit rooms where some await their fate.

For the Paris Gallery Weekend, Céline Poulin and Margot Liebart propose, as an echo to the exhibition, a subjective and non-exhaustive journey, between absent bodies and the art of personal and social portraiture.

The figure of Lynne Cohen guides the group exhibition orchestrated by the gallery In Situ – fabienne leclerc. The artist is known for her images of spaces of use and domestication, empty of bodies where they are told by the places they usually occupy. In Hatice Pinarbaşi, presented by Gaudel de Stampa, it is language, via the reinterpretation of various signs (alphabets, clothing objects…) that draws in the painting an identity with multiple incarnations. As Julie Crenn writes “The artist makes a squatting language, talkative, almost inaudible, falsely indelicate. A performative language in the hollow of which Hatice Pınarbaşı crypts a situated, critical and magical autobiographical narrative.” At the Chloé Salgado gallery, Margaux Meyer‘s practice wavers, between the body and the abstract, always in an intimate relationship with her subject. Her line also refuses to focus, seeking not to describe and categorize, but to convey emotions.

Blur is also a central characteristic of Yu Nishimura‘s paintings presented in the exhibition Portraits at the Crèvecœur gallery. The practice of portraiture conveys societal narratives as well as individual destinies with very intimate issues. Jonny Negron, for example, offers a self-portrait in his bathroom, where the products used are so many markers of his history.

The encounter between historical and personal narratives animates the works of Jagdeep Raina at the Anne Barrault gallery. The artist often draws on anecdotal stories as well as personal and public archives as raw material for his figurative works, blending family narratives with historical accounts to illuminate the socio-economic and political structures that have shaped South Asian communities in his native Canada and around the world.