A French artist of Berber origin, Adel Abdessemed was born in Constantine, Algeria in 1971. He lives and works in Paris, France.
Speaking of his childhood, the artist fondly recalls the silent, rough landscapes of the Aurès mountains: ‘dry, full of scars: the land of the Berber Numidians.’ The third of five children, Abdessemed grew up and began his studies in Batna, Algeria. At sixteen, he was the youngest in his intake at the École régionale des beaux-arts de Batna. The artist remembers his school as a haven, a space to create and to run free; something which ended abruptly with the arrival of Arabisation in Algeria. He saw the mandated imposition of the Arabic language and customs upon his community, and the ensuing suffocation of the Berber identity and vernacular. Expression, he notes, was a rare good.
Against this background of cultural censorship, Abdessemed went on to attend the École supérieure des beaux-arts in Algiers, a city where he discovered Raï music, literature, alcohol and nightlife; in spite of the curfew and the violence which pervaded the city. Faced daily with news of student executions, attacks and political assassinations, life as an artist became untenable. The murder by Islamists of Ahmed Asselah, director of the Beaux-Arts, plus his twenty-two-year-old son, left an indelible mark on Abdessemed. So frequent were the attempts on his own life, the artist found himself unable to stay more than three nights in the same place. He left Algeria for France in 1994.
France was to represent a kind of second birth for the artist, who often describes his ‘roots’ as being in Algeria, and his ‘crops’ in France. It was here that he was able to truly develop his art, uncensored. Having enrolled at the École nationale des Beaux-Arts de Lyon, Abdessemed expanded his use of materials beyond traditional media, he explored the possibilities of video and of collaborating with a community of artists. After meeting his wife, Julie, everything felt possible. The artist and his family have since lived in London, New York, Berlin and Paris, where they are currently based.
HD video projection, color, sound, 1min32 (in loop)
music by Jean-Jacques Lemêtre
exhibition view, Solitude, 2014, Dvir Gallery, Tel Aviv
black stone on paper
60 x 80 cm
relief on door, carbonized basswood
205 x 92 x 5 cm (each)
exhibition view, Le Chagrin des Belges, 2018, Dvir Gallery, Brussels
exhibition view
L'Antidote, 2018, MAC Lyon
exhibition view
Je suis innocent, 2013, Musée National d'Art Moderne - Centre Pompidou, Paris,
80 wood hands, real size carbonized basswood
variable dimensions
exhibition view
Le Chagrin des Belges, 2018, Dvir Gallery, Brussels
exhibition view
Je suis innocent, 2013
Musée National d'Art Moderne - Centre Pompidou, Paris
Cocorico painting, Bataille. Toujours sanglante, 2017-2020
recycled printed metal
42.5 x 57.5 x 3.5 cm
bronze
540 x 348 x 218 cm
exhibition view, Je suis innocent, 2013, Musée National d'Art Moderne - Centre Pompidou, Paris
taxidermied peacock, egg
160 x 270 x 20 cm
exhibition view, Solitude, 2014, Dvir Gallery, Tel Aviv
taxidermied peacock, egg
160 x 270 x 20 cm



