The work of Stéphanie Lagarde created for the 2024 edition is based on a quote from Sylvia Zade-Routier, taken from a conversation in 2022. Both a private home and a place for research and artistic creation, Sylvia's house is the heart of the Radicale1924 project, itself based on the practice of hospitality. Sylvia's quote was the subject of a video work during the 2022 edition of Radicale1924 and a textile work for the 2023 edition. For the last Radicale1924 exhibition, a hand-embroidered banner is displayed in its ongoing fabrication on the facade of the André Breton House.

In Belgium, where the fry stands (frietkoten) are part of the cultural heritage, the potato reigns supreme. This diploma, awarded in 1834 by the Société Petotico-Maronico-Huitruique, served as a forerunner to the Belgian tradition of ‘Zwanze’ ——a form of artistic self-mockery and biting humour that challenged the otherwise staid 19 th century bourgeois culture. The recipient of this diploma was Renier Chalon, wha, as newly designed ‘Petottier’, would go on to become a master of ‘zwanzeur’ wit. One of Chalon’s mos infamous acts was the creation of the Catalogue de la Bibliotheque du Comte de Forstsas, where he invited European bibliophiles to an auction sheduled for August 10, 1840. This auction was meant to sell rare an unique printed works, but upon their arrival, attendees discovered htaht the entire collection was fictional. This playful dirsruption of bourgeois materialisms foreshadowed the tactics of the historical avant-garde Surrealists, delighted in infiltrating petty-bourgeois reality, subverting it from within by blurring the boudneaires between high and low culture. ( excerpt of text written by by Dennis Van Mol for Radicale1924)

Since 2022, Idris Sevenans has meticulously organised the archives of his project within the Floating Archive, initiated on July 4th 2022, for the inauguration of the Nightshop , run by Radicale1924, in the basement of Maison Routier. This video is an homage to the Brevet de Petottier. His Archive de Zwanze is an associative and disruptive interplay, where artistic seriousness meet popular banter and parody. Here too, the potato —-symbolically portrayed as a stone —— takes on significance. “After all , what would Belgium—- this nation of the heart of Europe- be without a potato? “ ( Dennis Van Mol )

Special invitee to Radicale 1924 at Maison Andre Breton - Émile Joseph Rignault is Thomas Rodriguez /AFF

Thomas Rodriguez founded AFF, Archive Furkablick Furkart, in 2014.

Primarily comprised of communication documents and ephemera, this archive was used in the creation of the book "Furkart Ephemera," released in 2019. Since then, the archive has been exhibited in various locations across Europe, including Greylight in Brussels and Heerlen in the Netherlands, as well as at Muhka in Antwerp, Château d'Oiron in France, ,SIS123 in La Chaux-de-Fonds, Switzerland and Maison Routier in Saint -Cirq-Lapopie.

22 color pigment photographs

A.L Steiner & R.C. Berks

During their residency at Maison Routier in Saint-Cirq-Lapopie this summer, A.L. Steiner and R.C. Berks created their own suite of tarot designs, based on the Major Arcana tarot cards created by Leonora Carrington, often described as 'surrealist objects.' The role of tarot in Carrington's life and creative process remains a source of revelation, which Steiner draws from, infusing her own approach into this timeless subject. Together with her partner, R.C.Berks, they reinterpreted the original tarot imagery to create a contemporary edition in the village of Saint-Cirq-Lapopie, as a homage to Leonora Carrington.

In 2022, Cafmeyer presented a slcutpurarl work featuring his van as a contemporary interpretation of a surrealist ‘object-trouvé’. By elevating this vehicle, named Artemis, to the status of an artowork/scultpture and by parking it in the idyllic town of Saint -Cirq-Lapopie, completely sealing it with red bricks, Cafmeyer comments on the proliferation fo car parks and the use of brick in construction regulations. For t his final exhibition of Radicale1924, Cafmeyer planned a tour of ‘Les Villages Préférées des Français’, as well as visits to Antdré Breton’s maternal home in Tichebray and to Paris. His van , named Esmeralda, was fully sealed wit wooden panels . Over the course of 4000 km, Cafmeyer documented his tourist odyssey culminating in his arrival att Saint-Cirq-Lapopie, the number one village of Les Villages Préféres des Français.

On September 28th , the inauguration day of Radicale1924 at Maison Andre Breton- Emile Joseph Rignault, Ria Pacquée performed her rendition of Breton’s poem Union Libre. With a recording of Breton himself reading the poem as a backdrop, Pacquée intertwined her live reading with his voice, bringing to live her text. The evocative opening lines ‘Ma femme a la chevelure de bois, Aux pensées d’éclairs de chaleur. A la taille de sablier’ resonated as the voice of the author Breton blended with the live voice of the performer and author , Ria Pacquée, for an audience in th gardens of Emile Joseph Rignault.

Architect and ‘urban thinker’ Luc Deleu focusses in his work on critical socialogical and ecological alternatives. These thought-provoking proposals for the village of Saint-Cirq-Lapopie, reflect a vision rooted in his method of working and a mentality that has evolved and continued over the years since the beginning of his career .

A photograph , taken in 2021 during a visit to the André Breton House, capturing the artis standing inside the chimney of the main room of André Breton House.

Cedric Fargues contributed two paintings to the Radicale1924 project, showcasing his engagement with pop culture and personal expression. The first, E-mail My Heart, was created as a continuation of his earlier work for Radicale1924 titled Britney. For this earlier piece (2021) Fargues replicated a painting originally created by American singer Britney Spears. The original artwork, which Fargues acquired at an auction in Los Angeles, had been shared by Spears with her fans on YouTube as a deeply personal expression of her emotions during a challenging time. Displayed at Galerie Sympa in Figeac in 2019, the piece embodied both Spears’ vulnerability and her connection with her audience.

Fargues reimagined this act of creation with this new painting E-mail My Heart.

In 2023, the artist created ice sculptures in the shape of a plate, a glass and cutlery, which she arranged in a table on the terrace of Maison Routier - a site where many dinners and gatherings took place during the four-year Radicale1924 project. Overlooking the village and the valley of the Lot, this terrace provided a striking backdrop of the work. As the ice melted under the setting sun, viewers were invited to reflect on the tension between desire to preserve history and the impermancence of the present moment.

A series of 100 paintings created during the summer of 2024, Canesson’s residency at Maison Daura. Corentin painted daily on old posters of a work by Félix Gonzalez-Torres with the collaboration of his friends passing by in the village of Saint-Cirq-Lapopie : Luc Assens, Jolijn Baeckelandt, Maela Bescond, Arthur Beaver, Felix Boudet, Elena, Lou and Thomas Canesson, Archie Chekatouski, Rémy Drouard, Chloé Gasparini, Sylvain Le Quéméner, Maela Pelleter , Juliette Roche , Suzy Rolland, Vincent Simon ( a work in collaboration with La Maison des arts Georges et Claude Pompidou, Cajarc)

Assiettes, Céramique émaillée, réalisées dans le Studio Ernan & Pacetti, Albisola, Italie.

Prophétesse mélancolique, De tes lignes antiques Aux couleurs électriques Tu éclaires ma nuit Visage polygonal se module et déambule Dans les cellules somnambules De tes pupilles aquatiques

Où danse la walkyrie

Des algorithmes volcaniques.

Chacune des assiettes est un portrait-hommage d’une artiste qui a séjourné dans la maison d’André Breton à Saint-Cirq–Lapopie : Dorothea Tanning, Annie Le Brun, Toyen, Elisa Breton, Aube Breton Elléouët, Meret Oppenheim.

2009

Céramique émaillé, video

"Là où nous ne sommes pas - une aube sans precedent brulle

Où nous ne sommes pas - la mer et le coucher de soleil rubis

Là où nous ne sommes pas - la forêt est comme un bracelet en malachite

Où nous ne sommes pas ... sur les îles aux Cygnes!

Là où nous ne sommes pas ... écoutes-moi et sors-moi de l'abime,

Conduis moi dans la ville que j'ai inventé, pavée d'or

Dans un rêve ... je vois les terres lointaines 

Où règne la miséricorde, ou les rives sont en gelée..."

OXxXYMIRON 

This video is a digital trompe-l’oeil featuring a viral André Breton, returning to life as a social media influencer navigating a series of unreal and surreal scenarios. Breton’s iconic quote ‘The imaginary is what tends to become real’ is reinterpreted in the context of today’s digital landscape, where technology hacks perception and blurs the line between reality and illusion.

Van den Block re-issued 55 postcards which were originally made for another landmark and adapted them to Saint-Cirq-Lapopie. She distributed them to both visitors and participants of Radicale1924. Each person could write their own message and send it back to the artist.

3 paintings created in 2022, shown for the first time in the village at Maisons Daura during the "Radicale 1924" public event in the summer of 2023.

The presentation coincided with an exhibition by Corentin Canesson, artist-in-residence at Maison Daura/MAGCP. Corentin invited Jolijn Baeckelandt to participate in his exhibition, L'Amour Fou, as both artists recognized a resonance in each other's work. For Baeckelandt, the true value lies in the tension between opposing forces—where reality meets the marvelous, right collides with wrong, and the conscious intertwines with the unconscious. It is in this space, where opposites converge, that her artistic exploration unfolds. "Just as love confuses and overwhelms, painting and creating art generate a similar, elusive confusion that defies clear understanding.

During his residency in 2023, Davey developed a series of works on cardboard and parcel paper. His sculptural language revolves around themes such as the subconscious, memory, sexual frustration, and desire. A body of work reflecting his effort to capture and freeze energy, imbuing objects with a sense of immovable certainty and consciousness

Two works of French artist Laura Lamiel — a close and longtime friend of Sylvia Zade Routier. Both artists were recipients of the Casa de Velázquez residency in 1987. Two drawings, also made in Madrid during her stay at the Casa de Velázquez, are on display. Inspired by each other's practices, Lamiel and Routier collaborated on several occasions.

Van der Schaaf created works with the help of local artisans and inhabitants. Inspired by the collective meals held during each edition of the Radicale1924 program, he created ceramic tableware. The tableware is imprinted with pictures of box tree moths, notoriously proliferating in the Lot region. Echoing the 2021 edition, he works again this year with the pictures of the inhabitant-cats of Saint-Cirq-Lapopie, printed on stacked pizza boxes.

Carlos Aires ingeniously recreated the renowned ‘Portrait of André Breton’ masks, originally captured by Man Ray in 1930, using paper and cardboard. For the last Parade edition, Aires exhibited 50 unique, self-made masks. This intervention was documented in a photograph taken by the artist himself.

When in Saint-Cirq-Lapopie, one cannot resist the landscape. On cloudy days the colors are deep until the fog embraces the valley, then everything becomes muted. On sunny days, everything vibrates in soft pastels.

Hantrax Dolls is an ongoing project by the artist in which making a doll is part of his daily ritual. For the artist, these everyday dolls are ‘non-intentional creations’, where intuition is the key and which have no predetermined form

1919

Dr. Routier was one of the pioneers in the development of the electrocardiogram. This document was an early 20th-century diagnostic tool used by cardiologists to assess the size of the heart relative to the chest cavity. The method likely involved the use of tracing paper to map and compare the outline of the heart and thoracic cavity, typically derived from X-rays. The cardiothoracic ratio (CTR) was crucial for diagnosing cardiomegaly (enlarged heart) and other heart conditions.

2023

From the reconstruction of Maison André Breton that took place between 2020 and 2023 in the village, invited artists such as Idris Sevenans, Pierre Bismuth, and Simon Masschelein collected stones and debris from the site. Their re-imagined concepts inspired by this historic artist’s house, are on display in the garden.

a live intervention by Clodagh Kinsella

On October 13th from 2pm to 6pm, Kinsella performed a spoken erasure of André Breton’s Nadja in the gardens of Maison André Breton & Emile Joseph-Rignault. While the only English version of Nadja is based on the 1928 edition, the French version in circulation is the 1964 edition, which Breton heavily revised, removing significant content, including a love scene.
In her reading, Kinsella translates only the negative space—the words Breton suppressed—offering an anti-translation that aligns with his vision of Nadja as an “ajar door,” always open to re-reading and re-writing.

2021

“Moi sans corps / moi sans carme / moi pas de mysticisme / moi hors du moment” . For this last exhibition, Ria presents the video made during her first visit to Saint-Cirq-Lapopie in June 21, 2021. A performance called ‘Moi’ , a poem that she wrote introducing herself to the village , signaling the character and tastes of the artist.

2023

a mixed- media installation that serves as a self-portrait of an AI, incorporating two videos—UTTERING and PARAMETERS—along with two modified candy dispensers filled with blank computer keycaps.

Three key portraits, created using Artificial intelligence, depict a human torso in constant mutation. Skin tone, eye shape, hair color, and gender shift continuously, emphasizing the AI’s challenge in grasping the complexity and fluidity of human identity beyond simplistic, binary notions of race and gender. The work draws on surrealist ideals that rejected modernist conventions of the early 20th century, embracing the anti-aesthetic, the illogical, and the absurd.

'Sorry' belongs to one of the 5 categories into which Bijl organizes his oeuvre. Each work is a mildly surreal, humorous assemblage of found objects, blending the ordinary with the absurd in a way that challenges traditional notions of art and reality. Bijl contributed a 'Sorry 2021' during the first and second editions of Radicale 1924 at Maison Routier, which became a permanent piece of the house

Georges Adéagbo presented his first work in 2022: André Breton et la vie d’André Breton. During his frequent walks, he collects lost or discarded objects that reveal something about the society he visits before incorporating them into his installations. Adéagbo enriches his palette with sculptures and traditional masks from Benin to present the culture of his country wherever he is invited to exhibit. Adéagbo avoids overly obvious interpretations of his work: ambiguity and entrapment are integral to his strategy. This last edition has been created in the main room of Maison Breton for Radicale1924 last exhbition.

2024

“On September 28 2024,

I will be transported in a crate to La Maison Breton in Saint-Cirq-Lapopie. I am declaiming the following words through a megaphone:

A good artist is a dead artist / Un bon artiste est un artiste mort / Ein guter Künstler ist ein toter Künstler.

After that, I will be laid out in a half-open crate, in Maison André Breton. I keep repeating the sentences. There is an opportunity for greetings during the opening hours of the exhibition until October 13”

2011

Collection of the André Breton House — donation from the Leonora Carrington Council of Mexico, which owns the largest part of the works by the great Mexican artist who was very close to André Breton during his exile during World War II.

2024

Moumouh and Demeulenaere expand their exploration of circles and squares from sculptural objects to graphical representations. For this exhibition, they invited graphic designer Pierre Martin Vielcazat to translate their sculptural forms into one-dimensional totems. Earlier works like ‘The Artist Chair’ inspired by the original furniture of André Breton, are preserved at Maison Breton.

Michel François’s work often unfolds as ‘escape plans’ within the space, much like a ball of string shifting between a finished object and the materialization of an ongoing process. This duality mirrors the tension between capturing an instantaneous moment and marking the passage of time, as well as the contrast between a physical act and a metaphysical reflection. ‘Flux Tendu’ was first installed in 1998 at the Moulins Albigeois, Cimaise et Portiques, in Albi. For Radicale 1924, the work connects Maison Breton to Maison Routier, creating a visual connection from Breton's window to Routier's house.

2024

Samyra Moumouh & Hans Demeulenaere have developed a new project, invited by Radicale1924 in Saint-Cirq-Lapopie, resulting in fourteen unique objects and an artist’s book. These pieces, reminiscent of Donald Judd’s specific objects, are difficult to classify solely as sculptures or design objects. Each object is cafefully crafted from green water-resistant particle board and consistently showcases the shapes of a circle and a square. The designs are inspired by various types of furniture. They draw from the work of several notable creators, including architects, artists and interior designers. This work was created in the context of Radicale1924 at Maison Daura in May 2024, held in the former house of the Catalan painter Pierre Daura, a central figure in the Circle & Square movement alongside Michel Seuphor and Torres Garcia, which championed geometric construction and abstraction in opposition to surrealism.

2024

Since 2022, Idris Sevenans has meticulously curated the archives of his project within the Floating Archive, initiated on July 4, 2022, to mark the inauguration of the Night Shop, managed by Radicale1924 in the basement of Maison Routier. Much like his video Archive de Zwanze, Monnaie de Zwanze serves as an homage to the Brevet de Petottier. Here too, the potato—symbolically transmuted in coin—assumes the meaning and essence of currency. “After all, what would Belgium—this nation at the heart of Europe—be without the potato?”

2024

Typically for his oeuvre, Masschelein creates components from various materials, such as wood and stone, that also serve as elements to support the structure, resembling a kind of scaffold. In this work, the artist uses his own body to become a hinge or part of the sculpture. On the opening of ‘Radicale1924 at Maisons Breton/Rignault , Simon climbered towards his own creation on the rock in Saint-Cirq, carving out a form that represents his own evolution over time.

2024

A boulder that doubles as a battering ram. By definition, a boulder is a stone that has broken away from the land around it. Its nomadic nature leads the artist to question whether this detachment represents the essence of ultimate freedom. To move the boulder, at least four people are required. It’s crucial that the group takes a running start and works in unison to propel it forward.

2021

Bicycle & video & flyers

In 2021, Sevenans participated in the very first edition of Radicale1924. This work features an imaginary bike tour between the Museum René Magritte in Brussels and La Maison André Breton.

2024

Presented in a non-linear structure, the film Ellipse invites viewers on a poetic and visual journey through time and space, blending archival footage, evocative landscapes, fragments of text, and significant artistic references. Accompanied by a soundtrack of readings and original noise-electro-industrial music, this film meditates on absence, ghostly presence, and our shared human connections. References include Bruegel's The Fall of Icarus, Rauschenberg's Erased De Kooning, Fernando Pessoa, Stanley Kubrick's 2001: A Space Odyssey, and many more.

The film, created during Bourthoumieux’s residency at Radicale1924, is available online — created with the support of Centre Wallonie-Bruxelles / Paris.

2024

This work delves into the nature of time and humanity's attempts to control it, emphasizing its inherent relativity. The process begins by making the invisible visible through the lens of a camera. Time is humanized in this work, symbolized by a tree and its lush growth, representing the organic passage of time.

2022-2024

Conducting participatory observation and experimentation for UNESCO Chair research on Images of the Futures & Co-creation, researcher Maya Van Leemput and photographer Bram Goots of Agence Future recorded 12 conversations with artists and village residents who contributed to Radicale1924 (in 2022 and 2024). Radicale1924’s futures orientation emerged from personal circumstance and the idea that "Today, the radical potentiality of creativity as a way to channel a future beyond the old normality has become an urgent task”. This video-document is part of Agence Future's For the Love of Futures series that asks how makers and artists, their communities and subcultures relate to futures. It is an introduction to some of the futures thinking that resident artists came to the project with. It reflects on collectivity, shared lives and love, on individual and collective difference, the inner and outer dimensions of the kinds of futures that can be imagined and shared whith radical creativity.