ANGE LECCIA
Arrangement.Globes Terrestres,1990–2021
77 luminous terrestrial globes.Courtesy of the artist and Galerie Jousse Entreprise, Paris.

The work

Leaving behind the fragrant and sonorous rustling of Paris and the voices of the Lagoon, the exhibition continues with Arrangement.

Globes terrestres by the Corsican artist Ange Leccia. This work requires the viewer to look up to the sky to embrace a broader horizon. Although globes belong to an ancient tradition in the history of geography, here they generate a visual and poetic warmth rooted in the contemporary world through the use of ready-mades and electric light. The archetypal Earth globe is multiplied to shelter us under a ceiling of worlds without borders, inviting us on an infinite journey.

The Arrangements have always been objects linked to displacement and confrontation. They are based on the analogy between this notion of speed, the ephemeral character of the contemporary world, the fragility of a time that accelerates more and more.

In the age of globalisation, the repetition of the luminous mappa mundi, which multiplies the image of the Earth, puts into perspective the fragility of ecosystems of which the artist poetically raises our awareness.

Portrait of Ange Leccia
Ange Leccia

Biography

Born in 1952 in Minerviu in Corsica. Lives and works in Paris and Corsica.

Ange Leccia reflects on the object and the moving image through his dual role as a visual artist and filmmaker.

Frequently mixing film references in his works, he borrows his vocabulary from the history of cinema, and light, time and space are the raw materials of his videos.

In the 1980s, the Arrangements series placed industrial objects in relation to each other, in the ready-mades tradition of Marcel Duchamp, earning him international recognition.

In the 1990s, he produced his video works based on the repetition of natural phenomena. Encouraging us to slow down our perception, his poetic images highlight meeting points between things and the elements.

When talking about his filmic devices, rather than referring to images, he talks of “stations”: a pause, a visual warning, a moment of observation, a place and time of reception and dissemination. He defines himself as a “manipulator of evidence” and rejects the idea of fabrication in his work. The repetition of objects or images on a loop allows the viewer to grasp the work in the moment or to capture it in time as the contemplation of an image-movement.