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Archives Fred Forest, exposition au Centre Pompidou, Espace Nouveaux médias

This exhibition at the Pompidou Center on January 24th and October 14th 2024 shows a perfect function principle due to the appearances that are immaterial to the fact that it multiplies with the temperatures, and does not meet any of the following functions in order to perform the function.

Archives Fred Forest

Archives Fred Forest


Exhibition at the CENTRE POMPIDOU,
January 24 to October 14, 2024

This first exhibition will be held at the Center Pompidou on January 24 or October 14, 2024, due to the artist’s first presentation about the concept of the year 2006 in Brazil, Où, in opposition and in concurrence. Competition for the Biennale officielle Lisette Lagnado in 2006, on the Lancé of the Biennale 3000. en 1975). The 3000th Biennale proposes a unique feature that allows you to visit the world without changing your physical environment. With an automated gesture of participation without any intervention, this can guarantee the absorption of the drops. The specification of this Biennale 3000 residents in the fait qu'en rupture with all the previous Biennales, it s'agissait of a unique Biennale, exclusively online.



This type of exposure is accepted by the Center Pompidou in the quality of the time for the necessary raisons:

When the age and the temps that the center uses to accommodate the new “news” at the center, it seems important and real that the temps say that it remains to live and does not succumb... For the congratulations!
On the other hand, it is a beneficiary of three exhibitions, which is all about making an exception for one of the artists in this institution. This will be a veritable place in the house... He will be born next to a larger quarter, which will be in just the same title, more common in the past esprits!
This exhibition will take place at the Pompidou Center in 2024, showing the best possible function due to the manifestations that are immaterial to the fact that there are multiple times at the same time, and don't have anything else to do with the function. Function based on his immatérialité même, which, if this is a manifestation exclusive to the line of the idea of a clean object. Marquant ainsi «a date clef» in the long historical tradition of expositions. One of the first exhibitions of the genre, that the honorary presenter in a “grand” institution that told me and that the son of a professional façon, other than the immanent room at the same time. And what this person is doing, what he or she is doing, and one of the most important fois, such as the quality of my artistic products, a quasi-messian operator, who is at home at the same time as the “organizational” system. It is necessary in the application of the art of these contemporary times. (If the modesty that did not finalize the amount of force that the protagonists...) Commit to the announcement in the manifest (Act II) that I published in the journal on Monday, February 7 en 1980. It's at home, it's a quarantine period for everyone...

This final exhibition at the Centre Pompidou, from January 24 to October 14, 2024, represents the first culmination of a concept the artist has been implementing since 2006 in Brazil, where, in opposition to and in competition with the curator of the official Biennale Lisette Lagnado in 2006, he launched Biennale 3000 (a chronological follow-up to Biennale 2000, which he had already implemented at the Sao Paulo MAC for the 13th Sao Paulo Biennale in 1975). The Biennale 3000 he is proposing is an online-only virtual device, which has the advantage of being visited from all over the world without the need for physical travel. It also features automatic management of entries, with no human intervention, thus guaranteeing the absence of any hidden agendas. The specific feature of this Biennale 3000 is that, in a break with all previous Biennales, it is a virtual Biennale, exclusively online.



In having the Centre Pompidou accept this type of unprecedented exhibition, he qualifies it as ultimate for two essential reasons:

  • Given his age and the time it would take him to convince the Centre of another of his "novelties" to present, he knows full well and realistically that the time he has left to live would not be enough... to convince them!
  • What's more, he has already enjoyed three exhibitions here, which is quite exceptional for a single artist in this institution. He'd be embarrassed to have a fourth one on top of that, which would rightly lead to him being branded a hoarder!
  • The exhibition I'll be staging at the Centre Pompidou in 2024 is a perfect illustration of this operating principle, dedicated to immaterial events that will only multiply over time, and whose functioning I'm highlighting here myself. An operation based on its very immateriality, which, as an exclusively online event, eludes the sacrosanct notion of an object. This marks "a key date" in the long historical tradition of exhibitions. One of the first exhibitions of its kind, which I will have the honor of presenting in a "major" institution as such, and which I am announcing here in a prophetic manner, with the others inevitably following in time. And which makes me, whether we like it or not, and once again, beyond my works produced as an artist, a quasi-messianic operator, who will have played in his time an essential "organizational" role in the apprehension of works of art by his contemporaries. (To hell with modesty, which ultimately only serves to reinforce the self-righteousness of its protagonists...). As I announced in the manifesto (Act II) I published in the newspaper Le Monde on February 7, 1980. In other words, at the very least, forty-four years ago...

I would point out in passing that this famous "Manifesto Act II" also contains headings other than the "Concept of Organisation", which gives me the opportunity to quote it here.

For example, the "Concept of relation", which made a fortune 18 years later under another name, "relational aesthetics". The promoter who seized on it without a modicum of elegance never cited his sources, and whose name I won't mention here since everyone knows him...  😄

Coming back to my online exhibition of my archives, which will take place on the 4th floor in the Espace dedicated to New Media, it will cover the years 1962 to 2024, presenting 246 of my ACTIONS and 296 of my VIDEOS in virtually exhaustive form, which a search engine provided by an excellent computer scientist, Nicolas Ratel, will enable you to locate, and which two female artists, my wife and collaborator Sophie Lavaud and Manuela Manzini, have enabled me to identify and place on this archive site. (The starting date of my archives does not begin in 1933, the date of my birth in Mascara in French Algeria, as the Portapack did not yet exist at that time). I'd like to extend my warmest thanks to my mother Yvonne - a housewife - and my father Armand - a hardware store employee - for giving me the life and energy I've used throughout my life. As for my son Adrien, now based in Bangkok, Thailand, he's there for us, thanks to the magic of the internet, whenever I need him to intervene directly on my Power Book. Thank you son!

When I was younger, I used to rage at the blindness shown towards me by critics and other heads of institutions. I was a man of communication even then, and I kept them informed of my every move by every means at my disposal. I spent whole nights folding flyers and slipping them into envelopes, which I then had to stamp with stamps that strained my meagre resources as a telephone employee at the Central Inter Archives.  In short, my resources haven't changed much since then, because I've made it a point of honour to refuse the market, believing that it's an aberration to sell a work that is, in fact, a part of oneself. But that's a completely personal opinion, which only serves to reinforce the suspicion that I understandably arouse in the cultural establishment at all levels.

Finally, as the icing on the cake of my programme at the Centre Pompidou, I have a network action in store for you, under the name of the "Foot Bank", which will enable you to exhibit your work there on a temporary basis... (Details to follow).



Fred Forest has a special place in contemporary art. Both by his personality and by his pioneering practices which mark his work. He is mainly known today for having used one by one most of the communication media that have appeared over the last fifty years. He is co-founder of three artistic movements: those of sociological art, the aesthetics of communication and ethics in art.

He represented France at the 12th São Paulo Biennale (Communication Prize) in 1973, at the 37th Venice Biennale in 1976 and at Documenta 6 in Kassel in 1977.