For the second part of the exchange between the Neuchâtel Art Centre (CAN) and Passerelle Centre d’art contemporain Brest, the show S'embarquer sans biscuit offers to act rashly and to take off without precautions.

The city of Brest evokes for continental one – particularly for Swiss people – a projection into the distance and an imaginary, fictitious and ocean-related form. Echoing the surveyors and explorers from another time, choosing that Brittany town as a destination is based on the romantism linked to the idea of travel, cultural encounters and collaboration with other artists. This two-step project enables to develop a collective approach, seeking to undermine individualism and blur the roles: each artist hosts another and is invited to share the "local rites."

If artists have moved physically, the works produced for the first exhibition Tomber sous le vent at CAN (27.02-10.04.2016) have not travelled. Artists have simply brought in their luggage fragments and concepts to produce ephemeral and unsaleable stock in Brest. Modesty to produce through the use of poor materials and the simplicity of gestures become a form of resistance and an opportunity to continue beyond any consumerist and economic exhaustion to only focus on one form of dissenting opulence.