This exhibition has been put together by the team behind the DRAW Project, a joint artistic adventure originating in New York in the early 2010s. It was the initiative of the artist Tomas Vu. DRAW was conceived as an international platform dedicated to contemporary drawing and brings artists from different backgrounds together around one simple idea: using drawing as a place for meeting, exchanging and experimenting.

Culture reminds us that our societies are constructed by dialogue, curiosity and knowledge, and not by rejecting other people and turning in on oneself. It allows us to imagine different futures, to construct a community despite our differences and to defend the idea that every person has a place in the collective narrative. This is the ambition of the DRAW Project, working through the artists it brings together and the exchanges it makes possible. By turning drawing into a space for meeting and shared creation, it affirms that cooperation, listening and joint intelligence are forces well capable of providing a response to the divisions of our times.

This is not an exhibition; it is a publication, a document of its own making, an exquisite corpse of relationships past, current, and future. It is a response and push against collapsing times and the mainstream of individualism.

The community of those who have nothing in common is an attempt to write a visual poem of fragments.

One sometimes has the impression of having already experienced a situation, been in a place, or seen an image. This sensation is brief, strange and often impossible to explain. We know it is not an actual memory, yet the feeling persists.

This exhibition is based on this familiar experience of déjà vu.

The works presented do not tell any new stories. On the contrary, they replay, repeat and reshape forms, images and movements which we feel we recognise. Some of them seem to belong to another time. Others resemble images from films, paintings or collective memory. However, when we take a closer look, there is always something that is not quite right.

Here, déjà vu is not a mistake.
It is a way of looking.

Artists work with what we already have in our minds: known images, recognisable styles, inherited forms. But they move them about, slow them down, retell them or subtly alter them.
This discrepancy creates unease. The spectator recognises something, then has doubts. He thinks he knows, but then hesitates.

The video by Oliver Beer, placed at the centre of the exhibition, shows us this process in a very simple way. An image from a well-known cartoon seems to be reborn before our eyes, sketch after sketch. We recognise it even before we can put a name to it. A memory forms along with the image.

Around this work are paintings, drawings, photographs and other videos which amplify this experience. Some use images from art history, others play on the repetition of a single motif. Yet others evoke hazy memories, mental images, impressions we have felt before.

Visitors are invited to take their time as they walk around the exhibition. To accept that they will not understand immediately. To observe how an image becomes first familiar, and then strange.

Déjà vu is not an exhibition about the past.
It is an exhibition about the way we see nowadays, in a world saturated with images, copies, references and recurrences.

Perhaps what we see is never totally new.
But what we feel, that can be.

Passerelle Centre d’art contemporain is moving for one year into the former Cercle Naval in Brest, a place laden with history and which used to be reserved for officers of the French Navy. In the former dining hall the art centre is setting up the first exhibition devoted to the history of graffiti in Brest from the 1980s to the year 2000. An unexpected dialogue will therefore be triggered between the prestigious architecture of the Cercle Naval and the underground urban culture that has made its mark on the city. Such programming clearly demonstrates the wish of Passerelle to play with codes and cause memories to speak to each other.

The exhibition Brest under the bombs – A history of graffiti 1984-2004 illustrates the use of the aerosol (called the bombe aérosol in French) in the Brest public space, and recounts the first twenty years of its urban art. Through many previously unseen archive documents (photographs, films, press articles, ephemera, objects, contributions by artists, personal accounts, historical reconstructions and more) this exhibition shows the major role played by the city of Brest in the history of French urban art.

Chapter1: The aerosol as a tool
The exhibition opens with a presentation of the aerosol as a tool, from its origins to its recent evolution, thanks to the impressive collection of Aurélien Harmignies, who is considered to be Europe’s major collector of aerosols. In a richly documented timeline, the exhibition presents aerosols from the 1960s to the 2000s along with their advertising, display stands and press articles and explains how urban artists first diverted the tool from its original function until the paint industry began to design aerosols especially for them.

Chapter 2: Inscriptions and demands
Spontaneous expression in the public space, applied directly onto the wall, inscribed in chalk or felt pen, painted or stuck on as a poster, received a great boost when aerosols came onto the market in the 1960s and 1970s. This was about slogans making demands, humorous comments, unauthorised promotional messages or simply the desire to mark one’s presence.

Chapter 3: Graffiti writing
In the late 1960s graffiti writing began to appear in New York and Philadelphia. This was a new type of graffiti, which involved signing or drawing your pseudonym on a huge scale so that your peers could not fail to see it. The practice developed in France from the early 1980s, especially in Brest, when the film Beat Street came out, featuring this type of graffiti as central to the plot. Other contributory factors were the presence of American servicemen based in Brest and the television programme, Hip Hop. Paris and Brest were among the first cities in France where this American import began to be seen.

Chapter 4: Ninja Force / Acropol Group
The first hip-hop community in Brest began in 1983. Influenced by their American mentors, they adopted their codes and were soon competing artistically with other dance communities. Bruno and Sane came into particular prominence for their sense of purpose and talent. Gradually, they got organised, became more professional, and inspired, through imitation, new generations of graffiti artists to develop graffiti writing in Brest.

Chapter 5: The iconic locations of Brest
Apart from in the street and along railway lines, graffiti writing is seen in empty spaces in the urban fabric where the discretion and tolerance of the authorities allows the artists to give full rein to their self-expression. The Maison Pour Tous at Valy Hir, the former factory at Kerfautras, the port and the old cider works have therefore become veritable open-air studios.

Chapter 6: A booming, organised and influential local scene
During the 1990s, many communities came into being and began to form links with other towns in Brittany. The U-Know shop opened, specialising in urban cultures and selling aerosols, and becoming the headquarters of this new generation of artists. One-off gatherings (concerts, festivals, graffiti jams) were organised, eventually leading to Brest being seen as a major scene for urban art in France. The jam at the port in 2000 was the high point, bringing together artists from all over France and even Belgium and making its mark on the whole country. From then on, the Brest scene has gone from strength to strength, as shown by the publication of Westbook in 2004, a book documenting the history of urban art in Brest.

This exhibition reproduces the research undertaken by the Centre Arcanes in the Brest area, especially related to the port of Brest, begun in 2021 with the support of the City of Brest and DRAC Bretagne.

It also extends the research undertaken by the Centre Arcanes on the exhibition Aérosol presented in 2024 at the Musée des Beaux-Arts in Rennes and in 2025 at the Musée des Beaux-Arts in Nancy.