Designed as a kind of intermediary between a multimedia library and a theater, CAC Brétigny is not merely open to its surroundings. From the creation of on-site artworks that make it possible to take over and significantly alter a site, to involving amateur groups in producing and appreciating art, CAC Brétigny has always emphasized its singularity by paying special attention to the women and men who form the center and help it to grow, artists, craftsmen, students, pupils, researchers, inhabitants, technicians, and so many others…

Our current age is marked by a number of changes which art practices are rooted in, be it the reconfiguration of knowledge and territories, the sharing of technologies, the questioning of democratic institutions, the questioning of identities, or the profusion of images. These evolutions are inducing artists to constantly push themselves and their work further in the era we are living through and to come up with new possibilities for the times. They are taking over processes of making art with others, creating alternative systems of understanding and modes of production, and disseminating new forms of knowledge. It is a creative drive that is also found in university research, industrial development, and amateur practices. And one that resonates with the growing multicultural diversity of territories as well.

Responding to these changes, CAC Brétigny has focused on supporting and helping to sustain these artistic and cultural practices, and offering them a range of spaces in which they can develop and thrive. CAC Brétigny has been fashioning a structure and a program of events and exhibitions that make both artists and audiences true end users. The program of art events, structured by Céline Poulin, includes all the activities of the art center, from communications to production to outreach. The CAC Brétigny finds itself functioning as a collective space, where each guest, each partner and each member of the team is actively participating in the construction and identity of the project. For example, in 2019-2020, Laura Burucoa's residency was largely conceived by Camille Martin and Etienne de France's residency follows a proposal by Elena Lespes Muñoz. Thus, the graphic designers Coline Sunier & Charles Mazé came up with an identity for CAC Brétigny that is an ever-evolving joint construction with the center. It is a project that embodies CAC Brétigny, which is diverse and open, like any space that wants to remain vibrant and alive and continue to be relevant.

2020—2021 Season: Esthetics of use, uses of esthetics: second movement, mutations

During the first movement, championing artifice involved several things, but most importantly rejecting the so-called naturalness of certain principles that are utterly cultural nonetheless. Our new season continues with the questioning and analysis we began last year. That questioning focused on the constant mutations of our identities, which overwhelm attempts by society to restrict them. The normalization currently underway is linked to the rejection of other forms of rationality. Compartmentalize, limit, simplify, unify – a whole set of procedures is necessary to advance reason such as it has become radicalized since the late 19th century. They conceal other noological tools that are indispensable to living with oneself and with others, like uncertainty, multiplicity, and the suspension of judgment in favor of consideration. “You don’t listen,” the future Joker, Arthur Fleck, and the self-described sales representative Charlie Meadows say at one point. The former is speaking to the social worker who is supposed to be caring for him, the latter to his neighbor in the next room at the hotel, the scriptwriter Barton Fink. Indeed, both are sorely lacking here in willingness to lend an ear to the individuals they are interacting with. The psocial worker is caught up in abject paralyzing administrative problems despite herself, and Fink, banally occupied by the twists and turns of his creative work while claiming to be focused on the multitude he calls “the people.” And yet we are all monsters, mutant beings who need to be listened to while existing within a captivating world. Like all of us, the real and imaginary characters who will be filling up the art center’s program live with their inescapable metamorphoses, draining off the languages making them up and their invented rituals in order to successfully inhabit the folly of the world. New habits perhaps will be embraced together. We shall chant then the importance of collaborative ways of working, with an Ǝcole (school) whose flipped around E points us towards a possible reversal of values, and we shall raise our voices, with rebounds, echoes, and above all polyphony.

Archive of the previous seasons available in the History's page.

A public service of Cœur d’Essonne Agglomération, CAC Brétigny, Contemporary Art Center of National Interest, benefits from the support of Ministère de la Culture—DRAC Île-de-France, Région Île-de-France and Conseil départemental de l’Essonne, and with the complicity of the Brétigny-sur-Orge's municipality. CAC Brétigny is a member of TRAM and d.c.a.



Céline Poulin

Céline Poulin has served as the director of CAC Brétigny since June 2016. Her vision for the art center, like her earlier programs and exhibitions, evinces her focus on reception as well as collaboration, information and communications arrangements. In this regard, she has mounted, for example, the group shows “Vocales” and “Desk Set,” as well as the first solo shows in France of Liz Magic Laser and Núria Güell. She started her work in freelance curating back in 2004 while serving institutionally as offsite curator for Parc Saint Léger (Pougues-les-Eaux) from 2010 to 2015; and as a public outreach department officer at Le Crédac (Ivry-sur-Seine) from 2007 to 2010.

Céline Poulin has also curated a number of programs of exhibitions and events, including notably “Les Incessants” at La Villa du Parc in Annemasse in 2016; “A SPACE IS A SPACE IS A SPACE” at DAZ in Berlin in 2015 in partnership with BDAP of the Institut français; “Traucum” at Parc Saint Léger in 2014; “Brigadoon” at La Tôlerie in 2013; and “Les belles images” at La Box in 2009-2010. From 2015 to 2018 she codirected with Marie Preston (with the assistance of Stéphanie Airaud) the seminar “Héritage et modalités des pratiques de co-création,” produced by Université Paris 8 Vincennes-Saint-Denis, CAC Brétigny, and MAC VAL, in partnership with La Villa Vassilieff. This work was an extension of Micro-Séminaire, which was published in 2013 and theorized curatorial practices occurring outside of the usual designated spaces. That gave rise to Co-Création, which was jointly published by Empire and CAC Brétigny. Ms. Poulin is a cofounder and member of the curatorial collective Bureau/, which is behind a dozen exhibitions. She is also a member of IKT and C-E-A.

Camille Martin
Head of production

After a bachelor's degree in art history at Paris Nanterre University and her mediation experiences at the Rencontres d'Arles and at la maison rouge (Paris), Camille Martin is admitted to the curatorial formation of Rennes 2 University where she studied to become production manager and exhibition curator. Following this master's degree, she joined the CAC Brétigny team, ensuring for over a year the post of assistant exhibitions and residences (civic service).

Elena Lespes Muñoz
Head of communication and public outreach

In parallel of her formation in Art History (University of Paris I and University of São Paulo), Elena Lespes Muñoz trained as project coordinator in contemporary art at the Kadist Foundation. She worked for the association Artesur, Aline Vidal Gallery and as freelance curator (Le bruit des choses qui tombent, FRAC-PACA, 2017; Video SUR, Palais de Tokyo, 2018; leçon de la pierre, Ìcaro Lira, Salle Principale, 2019).

Milène Denécheau
Technical and public outreach manager

Holder of a Bachelor of Fine Arts degree and a Master's degree in Works Management and Exhibition Mounting, Milène Denécheau trained as a stage manager at Frac Bretagne and Galerie Danysz. At the same time, she is developing her practice of mediation within the art-expression association specialized in the creation and dissemination of contemporary art.

Julie Kremer
Public outreach manager
Louise Ledour
Public outreach and communication assistant
Ariane Guyon (internship)
Curator and production assistant
Domitille Guilé (civic service)
Public outreach assistant

Regular collaborators

Anne-Charlotte Michaut
Communication, press and editorial coordination

After studying literature, Anne-Charlotte Michaut moved on to research in history of contemporary art (École du Louvre and Université Paris I). Today she is developing an art critic activity, notably for L’Œil and Manifesto XXI.

Julien Jassaud
Technical management and advice

Julien Jassaud is an artist and programmer. After the ESTP, he studied at the École nationale supérieure des beaux-arts in Paris and the Advanced Institute of Art Media and Sciences (IAMAS) in Japan. As a programmer and technician, he collaborated with many artists such as Christophe Lemaitre for CNEAI and Confort moderne, Aurélien Mole for Passerelle Centre d'art contemporain, Marlies Pöschl for CAC Brétigny, Fayçale Baghriche for MAGCP, and Mercedes Azpilicueta for CentroCentro in Madrid, Museion in Bolzano (Italy) and CAC Brétigny.

Romain Best
Installation work and construction
Administrative hub 
  • Director: Sophie Mugnier
  • Administrator: Christophe Nivet
  • Assistant Administrator: Céline Semence
  • Administrative Assistant and Accountant: Isabelle Dinouard
  • Assistant Accountant: Nadine Monferme
  • Guard: Emmanuel Préau
  • Maintenance Technician: Rachid Boubekeur

Former members of the team who participated in the project since 2016: Valentine Brémaud (internship), Cathy Crochemar, Céline Gatel (civic service), Mathieu Gillot, Thibault Lambert, Raheleh Nasiran (internship), Manon Prigent, Valentina Ulisse (internship) et Suheyla Yasar (internship).