Vorname
Adel
Nachname
Abdessemed

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— Text
Text über den Künstler - English
Adel Abdessemed's art work is a marriage made not in heaven, but in the grit and gravel of solid earth. It is one that weds violence, destruction, and anxiety with formal elegance and biting wit. For Abdessemed, a union „until death do us part“ is inaccurate since his work is a bond created at the brink of death. This theme is clearly not uncharted artistic ground, but Abdessemed's engagement with such provocative subject matter is unlike any other artist working in France or elsewhere. 

Perhaps more enticing for feline viewers than human museum-goers, Abdessemed's video, Birth of Love, is a dual metaphor for disgust and tastiness. The close-up shot of a cat eating a mouse is a concise illustration of the nature's food chain staged on the urban street. The sad story of the rodent that was stalked, hunted and killed is also the twinned tale of the happy cat that eats for another day. Recorded not far from the artist's studio, Abdessemed reminds the viewer that the shadow play of life and death, predator and prey, is never far out of sight and mind.“
Alanna Heiss, director of P.S.1 Contemporary Art Center, 2007

TURTLE
The idea of the bomber, a suicide bomber, is linked to the idea of something sudden, precipitate. Like out of the blue, he bursts into a crowd of people, wreaking as much havoc as possible with the dynamite sticks attached to his body. A kind of “fireball” as Walter Benjamin writes, “who runs along the entire horizon of the past”, making history disintegrate “into images, not into narratives.” 
The bomber is a shadowy, umbral figure – yet with the consequences of his actions he is deeply anchored in the here and now, the hic et nunc. It thus seems paradox, at first, that Adel Abdessemed would arm a turtle with explosives. The animal that has walked the surface of the earth for 250 million years and is to be found in the symbolic worlds of very different cultures as a sign of wisdom, longevity but also intense emotions and a sensitive penetration of the world. It certainly does not evoke associations with suddenness, shock and awe, but rather with perseveration and ontological constancy. The potential of terror as it unfolds is ascribed to an animal that metaphorically speaking one could be seen as the biological link with the arcane worlds of prehistory that are no longer legible for us.
Terror has existed everywhere since time immemorial.  Adel Abdessemed, however, is able to argue with even greater sophisticated visual imagery when he links eruption to slowness, the shock over an unexpected attack to a biological entity, which given its slow locomotion can easily be deactivated by any security service. To follow Abdessemed’s line of thought: what makes the contemporary logic of attacks problematic is that it is no longer about the sudden, precipitate appearance of an accelerated world image. Rather, it is the persistence and urgency of a stubborn, unyielding stance.  This way a dialectical counter-pole is created to the dromological delirium informing the contemporary world(s). The turtle, with its decelerated mobility, thus lags far behind all the turbulence of contemporary life, allowing it to subvert the investigative gaze – NSA, CIA, FBI, KGB, you name it – and to pursue its destructive work, hidden to the eye, as it were, under Alberich’s cloak of invisibility. The turtle, as Mongolian and Indian mythology have shown, carries the mountain of worlds on its back. In Adel Abdessemed this mountain of world is highly explosive. We can only hope that the various souls that, according to Buddhist teachings, live in each turtle, reach nirvana before an explosion taking place in slow motion like in Antonioni’s Zabriskie Point blow body and soul into the negating nothing of nothingness. Or to put it the words of AC/DC: “Don’t you start no fight ‘cause I’m T.N.T. I’m dynamite.”
Thomas Miessgang, 2015

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Galerie
Adel Abdemessed<br />Untitled, 2017<br />charcoal on paper<br />60 x 80 cmAdel Abdessemed<br /><em>Untitled (Soldaten)</em>, 2013<br />Charcoal on paper<br />184,5 x 129,9 cmAdel Abdessemed<br />Turtle, 2015<br />camel bones, buffalo horn, mixed media<br />unique copyAdel Abdessemed<br />detail Turtle, 2015<br />camel bones, buffalo horn, mixed media<br />unique copyAdel Abdessemed<br /> <em>Untitled (Soldaten)</em>, 2014<br /> Charcoal on paper<br /> 189 x 130 cmAdel Abdessemed<br />Video <em>Solitude</em>, 2014<br />DVD, music Jean-Jacques Lemetre<br />1 min 45 sec, looped<br />Ed. 5ADEL ABDESSEMED <br /><em>Mehr Licht</em>(with Adel Abdessemed and Sislej Xhafa), 2008 <br />Neon installation on ceiling <br />3,60 x 4,50 mADEL ABDESSEMED <br /><em>Mehr Licht</em>, 2008 <br />Neon installation on ceiling <br />3,60 x 4,50 mADEL ABDESSEMED <br /><em>Mehr Licht</em> (with Gerhard Rühm), 2008 <br />Neon installation on ceiling<br />3,60 x 4,50 mADEL ABDESSEMED<br />Video Still <em>Foot on,</em> 2005<br />DVD<br />2 sec, looped<br />Ed. 5ADEL ABDESSEMED<br /><em>Orient for Global Bordelo,</em> 2008<br />6 handwritten manuscripts by prostitutes,<br />6 FedEx boxes, MDF board<br />Installation 85 x 30 x 41,5 cm<br />Boxes each 34,5 x 29,5 x 6,5 cmADEL ABDESSEMED<br /><em>Orient for Global Bordelo,</em> 2008<br />6 handwritten manuscripts by prostitutes,<br />6 FedEx boxes, MDF board<br />Installation 85 x 30 x 41,5 cm<br />Boxes each 34,5 x 29,5 x 6,5 cmADEL ABDESSEMED <br />DETAIL <em>Orient for Global Bordelo</em>, 2008 <br />6 handwritten manuscripts by prostitutes <br />6 FedEx boxes, MDF boards <br />Installation <br /> 85 x 30 x 41,5 cmADEL ABDESSEMED <br />DETAIL <em>Orient for Global Bordelo</em>, 2008 <br />6 handwritten manuscripts by prostitutes <br />6 FedEx boxes, MDF boards<br />Installation <br /> 85 x 30 x 41,5 cmADEL ABDESSEMED <br />DETAIL<em> Orient for Global Bordelo</em>, 2008 <br />6 handwritten manuscripts by prostitutes <br />6 FedEx boxes, MDF boards<br />Installation <br /> 85 x 30 x 41,5 cmADEL ABDESSEMED <br />DETAIL <em>Orient for Global Bordelo</em>, 2008 <br />6 handwritten manuscripts by prostitutes <br />6 FedEx boxes, MDF boards<br />Installation <br /> 85 x 30 x 41,5 cmADEL ABDESSEMED <br />DETAIL<em> Orient for Global Bordelo</em>, 2008 <br />6 handwritten manuscripts by prostitutes <br />6 FedEx boxes, MDF boards<br />Installation <br /> 85 x 30 x 41,5 cmADEL ABDESSEMED<br />DETAIL <em>Orient for Global Bordelo</em>, 2008<br />6 handwritten manuscripts by prostitutes<br />6 FedEx boxes, MDF boards<br />Installation<br />85 x 30 x 41,5 cmADEL ABDESSEMED<br />DETAIL <em>Orient for Global Bordelo</em>, 2008<br />6 handwritten manuscripts by prostitutes<br />6 FedEx boxes, MDF boards<br />Installation<br />85 x 30 x 41,5 cm<p>ADEL ABDESSEMED<br />DETAIL <em>Orient for Global Bordelo</em>, 2008<br />6 handwritten manuscripts by prostitutes<br />6 FedEx boxes, MDF boards<br />Installation<br />85 x 30 x 41,5 cm</p>ADEL ABDESSEMED <br /><em>Cheval arabe</em> (2 - on green book vol. 2), 2011 <br />Book, polyurethane foam, iron wire <br />Book: 17,5 x 12,7 cm / horse: 32,5 x 15 cm, <br />total height: 17 cm<br />UniqueADEL ABDESSEMED <br /><em>Cheval arabe</em> (2 - on green book vol. 2), 2011 <br />Book, polyurethane foam, iron wire <br />Book: 17,5 x 12,7 cm / horse: 32,5 x 15 cm, <br />total height: 17 cm<br />UniqueADEL ABDESSEMED<br /><em>ne crains rien,</em> 2009<br />charcoal on Borden & Riley Paper, 60lb<br />11 drawings<br />each 61 x 45,7 cm, framed ADEL ABDESSEMED <br />from the series <em>ne crains rien</em>, 2009 <br />charcoal on Borden & Riley paper, 60lb <br />61 x 45,7 cm<div>ADEL ABDESSEMED<br />from the series <em>ne crains rien</em>, 2009<br />charcoal on Borden & Riley paper, 60lb<br />61 x 45,7 cm</div><div>ADEL ABDESSEMED<br />from the series <em>ne crains rien</em>, 2009<br />charcoal on Borden & Riley paper, 60lb<br />61 x 45,7 cm</div>ADEL ABDESSEMED <br /><em>Darkness</em>, 2008<br /> charcoal on Hahnemühle cardboard 190g/m²<br />42 x 59,4 cm

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Catalogues



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Videolist

Solitude, 2014
Farbvideo mit Ton
01:45 min, Loop

Birth of Love
, 2006
Farbvideo mit Ton
01:30 min, Loop

Foot on, 2005
Farbvideo mit Ton
2 sec, Loop

Tschüss (Berlin), 2004
Farbvideo mit Ton
1 sec, Loop

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