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Adel Abdessemed, Je Suis Innocent
First coming to widespread attention in 2000, the work of Adel Abdessemed has been generally understood as an intuitive and searing response to the convulsions shaking the contemporary world in its religious, political, economic and moral aspects. The artist has been said to re-appropriate the primal powers of violence and destruction by creating braided aeroplanes, a rolled-up fuselage, burnt-out cars moulded in terra cotta, rows of barbed wire... Installations, performances, drawings, sculptures, videos, photos - Abdessemed employs multiple media to register the signs of violence scattered across the world, to capture the hubbub of history and render it in images. True as these views may b...
Adel Abdessemed
Organised around an extensive essay by Larys Frogier, this monograph offers an overview of the work of Adel Abdessemed.
Adel Abdessemed
Since the mid-1990s, Algerian-born, New York-based Adel Abdessemed has unerringly located and triggered the religious, sexual and racial taboos of our culture. This volume takes a broad look at Abdessemed's activities, from his "street acts" to more recent works.
Adel Abdessemed
"Adel Abdessemed. Works (1988-2015)" offers the comprehensive entry into the international artist's work. Adel Abdessemed has created over recent decades one of the most stimulating, controversial, and elaborate body of works to be seen today, making the present an open field for thought and life. Bringing together over 1300 images of the artist's works, commented by leading art historians Giovanni Careri (Ecole des Hautes Etudes en Sciences Sociales, Paris) and Angela Mengoni (IUAV, Venice), and the curator and critic Pier Luigi Tazzi, including essays on the artist's work by some of the world's most seminal thinkers, such as Hans Belting, Julia Kristeva, Philippe-Alain Michaud and Jacques Rancière, this three-volume publication proves an invaluable contribution to a contemporary art library. (source site de l'éditeur).
Adel Abdessemed
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Adel Abdessemed
Published alongside an exhibition at Parasol unit foundation for contemporary art (22 September - 21 November 2010), the first solo exhibition in London that is dedicated to the work of Adel Abdessemed. Working across a wide range of different media, including sculpture, installation, video, photography and drawings, Abdessemed passionately tackles difficult subject matter and taboos within society and presents them as naked truth. Yet beyond their often challenging and provocative appearance, his works embody the fragility of life and are deeply imbued with beauty and poetry. Abdessemed's exhibition at Parasol unit highlights precisely the vulnerability and aesthetic sensitivity in the work of this important twenty-first-century artist. The exhibition is organised around two of his major works; Habibi, 2003, a 17 metre human skeleton made of fibreglass; and silent warrior, which includes numerous colourful masks made from found and empty tin cans from Africa, which once contained either food or toxic material. Abdessemed was born in Algeria in 1971 and now lives and works in Paris.
Adel Abdessemed: Drawings 1995-2015
"The publication (...) is divided in three volumes. The first contains analytical, in-depth essays, organized thematically around several specific aspects of Abdessemed's work. The second is the provisional catalogue raisonné of the works from 1995 to 2015, with the inclusion of only two works made in Algeria prior to the artist's arrival in France. (...) The third volume is an album of drawings (...)" (Foreword).
Adel Abdessemed: Air
Adel Abdessemed's art undertakes a full and stubborn engagement with freeing the image from formal demonstrations, so as to go straight to the real-that is to say, to substantial trauma and fantasy-very far from any pretention of representing "reality" or sublimating the "imaginary." AIR is an artist's book gathering reproductions of charcoal drawings of bodies suspended in the empty surface of the paper, floating into a non-place, out of time, as if escaping, flying, dropping, disappearing, or dying. The works revisit the usual definition of drawing as a composition of lines; they are traces, shadows, scratches, interstices, gaps, and opacities that offer a unique experience of the density and evanescence of the (in)visible. A poem by Ocean & Wavz echoes Abdessemed's drawing practice. This publication is produced and supported by the Rockbund Art Museum, Shanghai, on the occasion of the 2022 exhibition Adel Abdessemed: An Imperial Message.
Brushes with Faith
Contemporary artists are engaging more deeply than ever with religious imagery, themes, practices, and audiences. With a bracing, jargon-free style, Aaron Rosen--a leading scholar, art critic, and curator--takes readers into studios, galleries, and worship spaces as he paints a compelling picture of art and religion today. Focusing on individual artists, from eminent names to emerging stars, Rosen's essays and interviews tackle key questions, from how art might sustain communities to how it might offer new approaches to conflict resolution. Drawing on years spent developing relationships with artists around the globe--from Algeria to India to the United States--Rosen gets artists to talk, often for the first time, about how religion impacts their practice. Whether inspiring or unsettling, these brushes with faith challenge and invigorate the artists in question, and those who ponder the results. Replete with more than seventy color images of works ranging from video art to outdoor installations, this volume is indispensable reading for those looking to see contemporary art in a new light.
