• “Past Future” From May, 24th to September, 1st 2013.  Villa Beatrix Enea 2, rue Albert-le-Barillier 64600 Anglet.
• ‍
• The Pavillon’s ambition is to encourage a creative experience combining different individual practices. The concept of the discipline is examined through the lens of diverse artistic, cultural, economic and political systems of reference. The distinct dynamic of this program is founded on the diverse approaches to, and practices of, art throughout the globe. For its residents, the Pavillon constitutes a moment of shared history, a time for reflecting, questioning and producing individual or collective works of art. The Biennale invites the ten artists of the Pavillon to imbue the Villa Beatrix Enea, the building and its park, with original proposals for its specific spaces. The works presented were formulated from reflecting on the context of the exhibition as well as multiple exchanges among the residents, a creative process steered by the curator.
• The works presented were formulated from reflecting on the context of the exhibition as well as multiple exchanges among the residents, a creative process steered by the curator Cécile Bourne-Farrell.
• with the 10 artists exhibited come from eight countries: with: Carlotta BAILLY-BORG, born in 1984 – FR Feiko BECKERS, born in 1983 – NL Julie BÉNA, born in 1982 – FRFrancesco FONASSI, born in 1986 – IT Daiga GRANTINA, born in 1985 – LV Julien PEREZ, born in 1986 – FR Peter MILLER, born in 1978 – USA Gonçalo SENA, born in 1984 – PT Agniezska RYSZKIEWICZ, born in 1982 – Pl Theo TURPIN, born in 1986 – UK

The neo-Basque villa style, built out stones from Bidache, has distinctive signs of social status preserved both in the house and the vast English garden. Stemming from real and fictive stories surrounding the property, the residents of the Pavillon came up with original artistic proposals. The artists turned away from the domestic dimension of the ground floor by projecting their visions of the location, and moreover the people from different cultures and histories that lived there. Also called the “Thursday house,” the villa and park, in all their remarkable essence, are open to the public throughout the year. Should the functions of this property correspond to those of a family and its prestigious contacts of the time, different personal histories are inscribed within its walls. The Wedgewood fireplace is still there, along with numerous indications of 1900. Emptied of its furniture, the villa’s upper floors are occupied by the city administration of Anglet. In the exhibition, a particular relation combines the uses of the house and its park in the day and night to the “past future.” The artists aim to outline the subjective traces in the heart of this house, which is also a setting of cultural reference for Anglet.

‍