During the eighties, Ange Leccia became known by using objects related to the film world in other settings, such as household projections that staged during his first solo exhibition at the Museum of Modern Art in the city of Paris in 1985. At the same time, he developed video plays like Maria Callas (1982), Contempt (1986) or Pierrot le Fou (1986). These two latest creations feature eponymous film excerpts from Jean-Luc Godard, giving them second life. Having participated in many international exhibitions (Guggenheim Museum in New York, Skulptur Projecte Munster, Documenta 8 in Kassel), the artist stayed in Japan in the early ninety and discovered the new wave of cinema in Asia. There he collaborated with Dominique Gonzalez-Foerster and performs with her Isle of Beauty (1986), a subjective road movie between Corsica and the island of the rising sun. This also resulted in the “Zen” practice of the image, which appears in works such as La Mer… read more
During the eighties, Ange Leccia became known by using objects related to the film world in other settings, such as household projections that staged during his first solo exhibition at the Museum of Modern Art in the city of Paris in 1985. At the same time, he developed video plays like Maria Callas (1982), Contempt (1986) or Pierrot le Fou (1986). These two latest creations feature eponymous film excerpts from Jean-Luc Godard, giving them second life. Having participated in many international exhibitions (Guggenheim Museum in New York, Skulptur Projecte Munster, Documenta 8 in Kassel), the artist stayed in Japan in the early ninety and discovered the new wave of cinema in Asia. There he collaborated with Dominique Gonzalez-Foerster and performs with her Isle of Beauty (1986), a subjective road movie between Corsica and the island of the rising sun. This also resulted in the “Zen” practice of the image, which appears in works such as La Mer (1991), Smoke (1995), and
Storm (2000) where the elements of nature filter through a process of abstraction. His second exhibition at the Museum of Modern Art in the city of Paris in 1997 is constructed as a film that offers the viewer the ability to create his own story. Ange Leccia visited the Middle East many times (Egypt, Syria, Palestine), and the bank of images he has recorded has led to a series of video installations, shown in Musée Niepce in Chalon-sur-Saone, and a feature film, Aze, in 2003.
Filmography
1971, 1971, super 8, 24 minutes
TV, 1978, super 8, 22 minutes
Stridura, 1980, 16 mm, 13 minutes
Île de Beauté, coréalisé avec Dominique Gonzalez-Foerster, 1996, 35 mm, 70 minutes
Gold, coréalisé avec Dominique Gonzalez-Foerster, 2000, 35 mm, 43 minutes
Adolescence, 2000, vidéo, 13 minutes
Chansons populaires, 2002, vidéo, 10 minutes
Christophe à l’Olympia, coréalisé avec Dominique Gonzalez-Foerster, 2002, vidéo, 90 minutes
Malus, coréalisé avec Dominique Gonzalez-Foerster, 2003, vidéo, 20 minutes
See that Girl, 2003, vidéo, 13 minutes
True Romance, 2004, vidéo, 10 minutes
Requiem pour deux regards, 2004, vidéo, 85 minutes
Ruins of Love, 2005, vidéo, 26 minutes
La Déraison du Louvre, 2006, 35 mm , 15 minutes
Perfect Day, 2007, vidéo, 62 minutes
