عادل عبدالصمد
אדל אבדסמד
АДЕЛЬ АБДЕССЕМЕД

source: artspy

这场展览中令人印象最深刻的作品应该是一件名为“Telle mère tel fils（Like mother like son）”的大型雕塑，它填充满了第一间画廊中像飞机库一样巨大的展厅空间。这件作品近似于对整场展览做的结论性声明，它大概有65英尺长，由交织在一起的三架看起来疲惫不堪的客机组成。这些旧飞机的驾驶舱以及尾翼依然保持完整，但机身部分已经被像蛇一样的长管子代替了——这些管道都是用毛毡制作而成的，里面充满了空气。与阿贝德赛梅其它作品的直接性相比，这件作品是更加引人沉思和更加诗意化的。它甚至需要一定的时间才能展示出自己完整的样子，因而观众也不得不等待一段时间才能完全地认识它。在提及这件作品的名字时，画廊方面表示这件作品代表了“母亲与孩子之间的互相关联性”以及“诞生与毁灭的不可分离性”。这件作品的形态之中似乎蕴含了某种暴力元素，但这种“垂死的拥抱”同时还传达了大量的爱、情感以及信任。
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source: artinfo

Adel’s Nightmares

Who really is Adel Abdessemed? He has been reclusive for the past several years, protecting himself behind a multitude of aesthetic and symbolic references. Indeed, his show is titled “Je Suis Innocent” (“I Am Innocent”), as if he were Pontius Pilate washing his hands of the violence of others. The subtext of this title could be, “The world, people, and art, are all brutal — not me,” suggesting that the violence of which he’s been accused of basing his work on (a show of animal snuff videos was even removed from the San Francisco Art Institute) came from somewhere else. Abdessemed is claiming to be just a passerby, a printing plate, a slightly distorting mirror.

In the artist’s work, the shock is first visual and unpredictable, like a well-placed headbutt or a left hook. At the Pompidou, snakes and frogs kill each other on camera (in “Usine” or “Factory,” from 2008); a piglet eagerly nurses at a woman’s breast (“Lise,” 2011); a nude and corpulent monk plays the flute (“Joueur de Flûte” or “Flute-Player,” 1996); stuffed foxes and rabbits, with their mouths gaping, form a massive relief sculpture (“Who’s Afraid of the Big Bad Wolf?,” 2011-12); and an airplane is rolled up like a wrap (“Bourek,” 2005). There’s a certain baroque and stylized morbidity in all these works that evokes both Damien Hirst and Yan Fabre.

“Adel Abdessemed almost always dreams his artworks,” curator Philippe-Alain Michaud said at the Pompidou preview. These pieces primarily express the savagery of dreams rather than tackle politics or history, which only survive in bits and pieces after being chaotically assimilated by the sleeping artist.

Heavy-Duty Symbolism

Dreams are about disorder and incoherence. Why, then, do we find endless quotations and systematic references to Masaccio, Grünewald, Géricault, Goya, and Sol LeWitt in Abdessemed’s work? The references are so numerous that the work seems to hide behind them. And they’re so politically correct (from an art historical point of view) that the impact is much less sensational than would be expected from such a divisive artist.

In the end, what’s most troublesome about Abdessemed may be his way of playing with hype, copying it, and inflating it with references and a leaden symbolism that lacks the necessary distance for criticism. However, an undeniable impression of the artist’s poetic strength remains, glimpsed in certain works, especially in his sculpture of an immigrants’ boat filled with resin garbage bags and suspended in the air, like a flying carpet or Noah’s ark, a ghostly vessel or a tragic machine of the air. At such a moment, Abdessemed’s work still leaves us a little freedom to imagine and to explore.
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source: fireplacechatswordpress

Adel Abdessemed work seems to not only want to make naked the tragic and the terrible in the world, but to create and use the works as a kind of counter-force in opposition to and against the real. From his most recent work of making a barbed wire chair of a seat of power found in Westminster Abbey, to showcasing airplanes turned up like bananas, he seems to be saying that by doing what he is doing in art, he can be a certain type of master, he can create and or destroy or merely show acts of creation and/or destruction, just like life itself. Evidence of this is seen in his photograph where he appears to be on fire with his arms folded as if in an act of total defiance against the order and disorder of the world. How can I accept that his work is exclusively focused on the unreal realities of violence and sometimes blind human cruelty, perhaps he is seeking a cure to the impossible. Yet I myself have made the claim on multiple occasions that it is Literature than has changed human consciousness, and it is a higher art that is able to come into the world because of this heightened state of positive consciousness. What does this mean for the current production of Conceptual Art by fabrication and machine?What would happen if it were determined that yes, add more of these forms of images into the world, and the world will be made more whole or even completely whole, free of violence, full of love. Which would be that all human beings act at their highest levels of being, as versus sink into mindlessness madness without even a consideration of the effects on the world and all of time.
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source: beautifuldecay

The work of artist Adel Abdessemed is at once direct and poetic. He often uses common imagery and objects as a point of departure. However, the mundane beginnings of these objects only further underscore the weighty nature of his art. Abdessemed’s installations are able to provoke a sudden impact of its viewer. Still, the installations communicate complex ideas that unfold over extended viewing. At times controversial, his work is effective in piquing thought and discussion.
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source: re-title

Adel Abdessemed (born in Constantine, Algeria, 1971 grew up in Northern Algeria’s Aurès mountain area. He attended the Fine Arts School in Batna, Algeria and the École Supérieure des Beaux Arts Algiers. In 1992, a military coup toppled the Algerian government (from 1992-2000 violence is estimated to have claimed over 100,000 Algerian lives, and some rights watch groups claim the death toll to have been more than 200,000). In 1994, Adel Abdessemed left the country for France, where he enrolled in the École nationale des beaux arts in Lyon.

In 1999, Abdessemed moved to Paris where he lived in the Cité des Arts and began to exhibit his work. He was awarded a residency at P.S.1 in New York in 2000-2001. He lived for a time in Berlin, but has resided in Paris since 2004. Abdessemed’s solo exhibitions include FRAC Champagne Ardenne (2004) and Dvir Gallery, Tel Aviv (2006). In 2006 Abdessemed was included in Notre Histoire at the Palais de Tokyo in Paris. In 2006, he created a major exhibition of installations and photos at Le Plateau in Paris called Practice Zero Tolerance. His recent powerful solo exhibition at Le Magasin in Grenoble, France included Telle mère, tel fils. In 2007, he showed with Galerie Kamel Mennour (Paris) at the Armory Show in New York, was included in the Istanbul Biennial and in Robert Storr’s Venice Biennale presentation Think with the Senses–Feel with the Mind. Art in the Present Tense, and returned to P.S.1 for a solo exhibition. In 2008 Abdessemed was featured in a solo exhibition at Christine König Galerie, Vienna. His work is in the collections of Mamco–musée d´art moderne et contemporain, Geneva, and Fundación NMAC–Montenmedio Arte Contemporáneo, Vejer de la Frontera, Cádiz.
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source: laviedesidees

Né en 1971 à Constantine, Adel Abdessemed a vécu les premières années de sa vie dans une communauté où les trois monothéismes se côtoient sans heurts. Il entreprend des études d’art, d’abord à Batna puis à Alger. Il a vingt ans lorsque commence la vague d’actes terroristes qui plonge le pays dans la guerre civile pendant une décennie. Il quitte l’Algérie en 1994 après l’assassinat du directeur de son école et vient poursuivre ses études en France, à l’École des Beaux-arts de Lyon. Après des séjours à Berlin et New-York au début des années 2000, il est aujourd’hui l’un des jeunes fers de lance de la fondation François Pinault, qui prête pour l’occasion l’une des pièces majeures de l’exposition (Décor, 2011-2012). Programmée entre les monographies consacrées à Gerhard Richter et Salvador Dali, l’exposition rend sa place d’honneur à un art contemporain vivant et actuel.
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source: entretenimentouol

Nasceu em 1971, em Constantina, na Argélia.
Vive e trabalha em Paris.

Entre 1990 e 1994, Abdessemed estudou Artes ainda no ensino médio, na capital Argel. Ingressou na Escola Nacional de Belas Artes de Lyon, na França, tendo se formado em 1998.

É artista multimídia, especialista em vídeo e fotografia.

Adel Abdessemed expôs trabalhos nas Bienais de Pusan (Coréia do Sul), Tirana (Albânia), Yokohama (Japão) e Porto Rico, e na Manifesta 3, em 2000, na Eslovênia. Exibiu individualmente as peças “Zen, Sous la Terre, il y a le Ciel” (Sob a Terra está o Céu), na Projektraum Kunsthalle, em Berna (Suíça), em 2001, “Habibi”, no espaço expositivo da FRAC Champagne-Ardenne, na França, em 2004, e uma mostra que levou seu nome no Centre d’Art Contemporain de Vassivière, em 2002.
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source: mbeismagazine

Adel Abdessemed nació en Constantine, Argelia, en 1971, pero creció en el pueblo bereber de Batna, donde estudió arte desde los 16 años. Ingresó en el l´Ecole des Beaux-Arts en Argel en 1990 en medio de una creciente agitación terrorista. El director de la escuela y su hijo fueron asesinados. Abdessemed huyó a Francia. En l´Ecole des Beaux-Arts en Lyon continuó sus estudios de arte. En 1996, no pudo volver a su país para asistir a la boda de su hermana. Creó Exit, una señal de neón que leía exil, numerosas versiones de la cual aparecieron en la Bienal de Venecia de 2007. Después ha vivido en París, Nueva York, Berlín y París otra vez, donde reside en la actualidad desde hace tres años. El año pasado presentó Je suis innocent en Centre Pompidou. Le Vase Abominable se mostró en la galería londinense David Zwirner del 22 de febrero al 30 de marzo.