The Bric-à-brac exhibition brings together heterogeneous processes and works. It has built itself by assembling a succession of invitations: from 19, Crac to the Juste Ici association in Besançon as part of the 12th edition of their Bien Urbain festival, from Juste Ici to the Swedish artist duet Akay and Olabo now known as Toxoplasma, from Toxoplasma to multiple facets of the territory right down to the visitors.

Kelly Weiss considers that her artistic approach and her specific interest in the peripheries are linked to the industrial context of the area where she grew up. This influences in part the type of materials she uses, but also her creative process, which is strongly driven by the logic of wandering and collecting. The latter imbues the works with the vibrancy of memories of fragments collected or situations observed. The artist believes that her practice can only develop from this mutual contribution between her painterly gesture and the new elements that present themselves to her when she crosses spaces and territories. The allusive dimension of her work resists an approach based on meaning, in favor of one based on sensation, vibration and even diversion.

Ricardo Basbaum is a visual artist, author and teacher. He is, as he defines himself, an ‘artist-etc’. The plasticity of his posture is also reflected in his ability to produce relational objects. Continuing the explorations of Lygia Clark and Hélio Oiticica on the effects of abandoning the idea of the work as a finished object, which must instead include the active presence of the viewer in order to open up the field of possible meanings, he contributes to the creation of a new system for exchanging information and experiences. “The artistic proposal [then becomes] the place where mediations are produced […]”.