• Transformed Imagery

    Date posted: October 10, 2008 Author: jolanta
    Since the very beginning and until today, Ange Leccia’s work has taken up residence at the margins of reality, not far enough out to be absurd, but just beyond the ordinary, in other words, right where a view can become an image. Images, what’s more, were always what Leccia was about, who got his first Super 8 camera at the time he was “trying out” a secondary school diploma in art in Corsica at the end of the 60s. In 1971, at the age of 19, he made the first of the films that today constitute a phenomenal image bank that he is still building up and into which he dips, totally unchronologically.… Image

    Image
    Ange Leccia, Arrangement, Le Baiser, 2004. Two projectors type cinema. Courtesy of Galerie Almine Rech, Paris-Brussels.

    Eric Troncy

    Since the very beginning and until today, Ange Leccia’s work has taken up residence at the margins of reality, not far enough out to be absurd, but just beyond the ordinary, in other words, right where a view can become an image. Images, what’s more, were always what Leccia was about, who got his first Super 8 camera at the time he was “trying out” a secondary school diploma in art in Corsica at the end of the 60s. In 1971, at the age of 19, he made the first of the films that today constitute a phenomenal image bank that he is still building up and into which he dips, totally unchronologically.…

    Paradoxically, Leccia’s “images” (which he considers similar to “imagineers,” as Walt Disney called the technicians recruited at the end of the 50s to create perfect illusions for his first Disneyland) are rooted in a profound desire to produce a show. Whether we’re talking about his “arrangements” or his video installations, films, and exhibitions, this outlook coordinates the whole so that the moment of experiencing the artwork is something far greater than an image.

     
    Fabien Danesi

    Ange Leccia’s approach outflanks the principles of communication according to which events have to be explained to make them accessible to consciousness so that everything would be transparent and under control. Whereas a newspaper would treat each item separately, one following the other, Leccia renders them simultaneous and replays the inexorable duality usually seen as an unfortunate necessity. Not only does this disjunction persist in terms of content, the shots also end up entangled and seemingly responding to one another.… The flow of images weakens our bearings, and at the same time, also serves as a transcription of the complexity of the contemporary world.

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