Ange Leccia Orage

Videomed «Mediterranean Expressions. From Poetry to Politics.»


By Ange Leccia, Béatrice Pediconi, Louidgi Beltrame, Danielle Arbid

From 23 January, 2016
To 10 February, 2016

From its beginnings as an experimental art form with no status, video has, over time, come to be a crucial part of contemporary creation. Some of the greatest institutions now readily devote entire exhibitions to it, from the Bill Viola retrospective at the Grand Palais to Schaulager’s Steve McQueen exhibition. At the same time, a number of international fairs have sprung up, such as LOOP in Barcelona, and festivals, such as the Biennale of Moving Images in Geneva.

Photographers are the artists naturally most at home with video work, not only because it is a short artistic step to take from fixed image making, but also, on the technological front, due to the recent appearance of the “video” function on photographic cameras. So it is that many artists now move effortlessly between fixed and moving images.

The Mediterranean Expressions. From Poetry to Politics exhibition was originally conceived by Jean-Luc Monterosso, Philippe Sérénon and Ricardo Vazquez for the Hôtel des Arts in Toulon. From the original collection, Guillaume de Sardes presents this restructured, pared-down version. As his title implies, it showcases the work of Mediterranean artists, some of whom work primarily with form, whilst others address contemporary social issues. Artists such as Ange Leccia and Beatrice Pediconi might be classified within the former group, with Danielle Arbid in the latter, whilst Louidgi Beltrame occupies a kind of middle ground between these two video art schools.

Corsican-born French film-maker Ange Leccia presents a series of works including Orage [Storm] (2000), La Mer [The Sea] (1991) and Fumées [Smoke] (1995), based around the elements, all emphasising their repetitive and pictorial elements. His work, showing lightning strikes against a dark sky, is a continuation of the venerable tradition of landscape painting, as practiced by Lorrain in the 17th century, and Vernet in the 18th.

Italian Beatrice Pediconi’s video (Untitled, 2015), goes further still into formalism as what she shows us (flowing particles and fluids moving in an indeterminate space, set to music by Alessio Vlad) becomes purely abstract. Undoubtedly, the fascination her video holds for the viewer is down to this indeterminacy, this vagueness, this abstraction itself.

Danielle Arbid’s documentary film, The Smell of Sex (2008), seems, on the other hand, firmly anchored in reality, with the filmmaker presenting a series of intimate confessions collected from her Beirut friends. However, these revelations are delivered as a series of off-screen voices, played over archival Super 8 video footage, creating strange echoes which interplay voices and images. Danielle Arbid hereby transcends straight illustration, resulting in a surprising video with tremendous style and grace.

 

Louidgi Beltrame’s video Brasilia/Chandigarh (2008) examines methods of human organisation as expressed through 20th century town planning and architecture. His documentary looks at the creations of Oscar Niemeyer in Brazil and Le Corbusier in India, creations which spring from the same utopian dream: creating the ideal city.

 

 

Where

Station, near Beirut Art Center
Jisr El Wati
Beirut

When

From 23 January, 2016
To 10 February, 2016

12:00pm - 7:00pm

Closed on Sundays