Without following a thematic axis, the exhibition, which brings together the 4 artists nominated for the Prix du Frac Bretagne-Art Norac, attempts to highlight postures, temperaments and perspectives on the world that mobilize particular attention systems. Like lizards that suddenly appear to disappear immediately, the artists gathered here are interested in transitory states, in moments of passage from one perspective to another, in the body in its impermanence and its fragility. Some works have an ephemeral life since they develop in relation to the place of exhibition to then disappear or persist in another form in another place.

Lizards are the origin of the expressions “lazing” and “doing the lizard” which evoke states of stasis and lack of movement, often negatively connoted as moments of unproductiveness. But the immobility of the lizard is never reduced to immobility or simple rest because, motionless under the sun, the lizard is always on the alert. For the philosopher Jérôme Lèbre, author of "The Praise of Immobility", immobility corresponds to the decision to occupy a place and hold a position. In the era of acceleration, the imperatives of mobility and flexibility, being an artist means above all making the choice to stop, to stand in a place not for a desire to withdraw from the world but on the contrary to open the space of possibilities. Through the prism of very different plastic and conceptual approaches, Reda Boussella, Clémence Estève, Fanny Gicquel and Valérian Goalec appeal to inaction, slowness, dreams, horizontality as well as to fall and failure. for their potential resistance to the thirst for verticality, success and success that dominates the present time. This can, for example, take the form, in Valérian Goalec's installation, of a poetic diversion of the standardized architecture of prize-giving venues, by subtly questioning the relevance of the notion of competitiveness in the artistic field. In Reda Boussella's sculptures, combat sports training objects can turn into burlesque elements and the frightening bite of a Malinois dog into a tender waltz. Clémence Estève distorts the silhouette of the great sculptures of the history of art, scoliosis being for her a way of questioning the social injunctions to straighten the body as well as a means of deflecting while remaining frozen, of seizing a movement where the body seems motionless. Through slowness and slowing down, Fanny Gicquel's performances invite contemplation to the point of creating images close to the tableau vivant that question our current modes of relationship and communication.

The artists suggest to us that the vulnerability of bodies and our environment gives access to the possibility of developing new forms of sharing, presence and care. But also to invent new interaction strategies and new ways of looking at our bodies and their physical, intimate and social metamorphoses.