1, rue contrescarpe 33000 Bordeaux . 00 33 06 99 60 75 99 . leilasadel@hotmail.com . www.leilasadel.fr

Leila Sadel

Leila Sadel1, rue contrescarpe 33000 BordeauxFrance

T 00 33 6 99 60 75 99 leilasadel@hotmail.comwww.leilasadel.fr

Born in 1985 in Casablanca (Morocco), lives and works in Bordeaux.

Exhibitions / Residencies

2011-2012• tracé(s), residency for the project Écritures de Lumière, Artothèque - Les arts au mur, Pessac (France)

2010• Tout ce que l’on fait est sur fond de silence, residency/exhibition, Le Cube - independent art room, Rabat (Morocco)• Jardins partagés, residency/exhibition with the artists collective Vous Êtes Ici, Paris (France)• Désir, group exhibition, Galerie des Beaux-Arts, Bordeaux (France)

2009• Vue Intérieure, residency/exhibition with the artists collective Vous Êtes Ici, Paris (France)• Festival Big Up 2, group exhibition, Anglet (France)

2008 • CELL project, exhibition, Prague (Czech Republic)• Selection of the video Fragments, screening for the exhibition Calypso : Artistic Learning Processes, Sala Rekalde, Bilbao (Spain)

2007 • One Night Stand, group exhibition, CAPC, Bordeaux (France)

Education

2010 Professional education : Development of the artistic activity (management, communication, distribution), Le bbb, centre régional d’initiatives pour l’art contemporain, Toulouse (France)2009 Graduate from the Fine Art School of Bordeaux (France), Diploma DNSEP2008 ERASMUS exchange, 6 months BA Fine Arts, Middlesex University, London (UK)2007 Graduate from the Fine Art School of Bordeaux (France), Diploma DNAP2004 High School Graduation, economy and social studies

Grant

2010 Support for international mobility for Aquitaine’s artists and creators Aquitaine Regional Council (France)

To understand an image? Does the answer to this question must necessarily go through the experience of memory? My artistic approach is to re-question the notion for images to belong to a context. Does an image (or a text) take out from a context has an autonomy of speech? Can it be manipulated like a malleable material and tells us many stories as it could be possible to imagine?

My artistic course is punctuated by moments of collection of elements (images, texts, objects) that impose to me an observation time and a grasp of the context where I am. Thereafter, the connexion between these singular elements borrow from daily life, takes place in order to create situations conducive to the emergence of fiction, to the construction of narratives. My work consists of multiple interventions from the arrangement, the confrontation, to the shaping of the collected material. I make short shiftings, shifts of meaning, which interact with the collective imagery and propose singular moments in the form of photographs, installations and videos. The reference to a collective unconscious, mostly tied to image and text, allows the viewer to set markers in the narrative space that is emerging and is open to him.

My approach joins my idea of the artist’s positioning in society. T hrough his practice, I think the artist has the purpose to question the reality and its likelihoods. He creates a wavering of certainty by challenging our perceptions and beliefs. He highlights elements, emphasizes and gives them a resonance in his work to put our concerns at stake.

Ouvrage Workinstallation, 2010cut newspapersvariable number of words and dimensions

Choses Thingssoundtrack, 2010stéréo, 8’19’’

This soundtrack played in a continuous loop is an enumeration of lists extracted from The Pillow Book by Sei Shonagon.

As a continuity of my research on the fragment in literature, Choses [Things] imposed itself in a context of residency at the art center Le Cube - independent art room (Rabat, Morocco) as an answer to my visibility and readability of Morocco today.

Ouvrage [Work] is a work about my link with the Arabic language and its persistence.

Two groups of words, cut daily in Moroccan newspapers, are arranged on a table to indicate my understanding of this language today and what is remaining from its learning during my childhood in Morocco.

Détours Detoursphotographs, 201078 digital prints, 13 x 19 cm

Series of photographs taken during a residency at the art center Le Cube - independent art room in Rabat, Morocco in July / August 2010.

The series of photographs Détours [Detours] reflects a fragmented view and confronts recordings of my daily life in Rabat to photographs of various small objects belonging to my family during my childhood in Morocco.

Latence Latency installation, 2010•clothes•various accessories

Latence [Latency] was performed on the occasion of an exhibition with the artists collective Vous Êtes Ici from the 16 to 19 July 2010, in three shared gardens of the 19th arrondissement in Paris. This 10 days residency with 7 artists and designers involves reflections based on the singularity of the place.

Crossing the gardens, we discover scattered clothes, arranged here and there, in a confusing manner, ordinary, organized, meticulous, like the remnants of a ghostly presence, a situation which we will not have access except by imagination.

The installation invites walkers to take part in its existence and feed the fictons it creates.

Combien de temps s’est-il écoulé ? How much time has passed? installation, 2010•dressing table, 120 x 41 x 78 cm•various found photographs

This photographic triptych sets up characters in a situation of waiting or contemplation.

They question their presence by the gap that is created with the landscape in the background.

Nuances Nuances photographs, 20103 digital prints, 50 x 75 cm

Wild stories was performed on the occasion of an exhibition with the artists collective Vous Êtes Ici the 17, 18 and 19 April 2009, in 4 appartements of the 19th arrondissement in Paris. This 5 days residency with 8 artists and designers involves reflections based on the singularity of the place.

This slide show of photographs presented details of advertising posters found in the Parisian subway during the residency. This selection of details involves the cancelling of the original meaning of these pictures and generates new stories to the viewer.

Histoires sauvages Wild storiesslide show, 200935 photographs

Rochers Rocksdrawings, 20106 drawings, 24 x 18 cmcrayon and mat photographic paper

This series of drawings attests of daily fixed instants of wandering, fragmented, selective.

These drawings made with colored felt-tips pens, represent objects or lived moments, combined with snippets of text. These associations often give place to ironic or humorous situations, and create a repertoire of non-sense or sense to reinvent.

Blur drawings, 200827 drawings, 29,7 x 21 cm felt-tip pen, paper

Fragments video, 20085’50’’

Fragments is a video which invites the spectator to discover some instants of life, trying to blur a temporality and create a loss of chronological marks in the narration.

Appearing in the form of subtitles, these fragments of intimacy interrogate cinematic images. It settles a game between voyeurism and confidences, which let to the spectators the choice to establish their own connections, as a story to reconstitute, viewpoints to consider.

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