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French Pavilion, France at 59th Venice Biennale of Art

The French Pavilion, France at the Venice Biennale 2022: the artists of the pavilion, the works, the times, the periods, the cost of the tickets and the exhibition venue.

French Pavilion, France at Venice Biennale of Art
American Pavilion, United States at Venice Biennale of Art - United States Pavilion, Giardini, Castello - City of Venice

(Photo: © Thierry Bal and © Zineb Sedira)

Exhibition in progress from April 23rd to November 27th 2022

The 59th Biennale Arte will open to the public on 23 April. But on the 20th, 21st and 22nd there will be the various openings and collateral events that always suddenly animate the Venetian artistic life. The awards ceremony will take place on the day of the opening to the public.

The title of the 59th edition of the Biennale d'Arte is Il Latte dei Sogni that means The Milk of Dreams.

The invited artists are 213 from 58 countries. There are 26 Italian artists, 180 the first participations in the International Exhibition, 1433 the works and objects on display, 80 new productions.

In all, 80 nations will participate in the Venice Biennale in the pavilions at the Giardini, the Arsenale and in the historic center of Venice.

Go to the page of the 59th Venice Art Biennale

French Pavilion, France at 59th Biennale Arte of Venice

The title of the exhibition at the French Pavilion is Dreams Have No Titles.

Artists: Zineb Sedira.
Curators: Sam Bardaouil and Till Fellrath.
Commissioner: Institut français. 
Seat: French Pavilion, Giardini - Venice

Press Release of French Pavilion

The French Pavilion presents Zineb Sedira’s multidisciplinary exhibition, an immersive installation consisting of film, sculpture, photography, sound and collage. In line with her practice to date, Sedira uses autobiographical narrative, fiction and documentary to shed light on past and present international solidarities related to historical liberation struggles.

Her contribution serves as a cautionary tale about the failure of an emancipatory promise which, for many people, remains an unfulfilled, not to say an impossible dream.

In Dreams Have No Titles, the artist addresses a major turning point in the history of cultural, intellectual and avant-garde production of the 1960s, 1970s and beyond, in France, Italy and Algeria especially.
She focuses on a repertoire of remarkable cinematographic coproductions and filmmaking, in particular activist ones, which had an impact on postcolonial movements.

During several visits to the archives of the Algerian Cinémathèque, she continued to mine the country’s incredible film heritage, which hardly ever gets a mention in the history of the cinematographic avant-gardes. Postindependence cinema in France, Italy and Algeria adhered to the so-called “Third-World” values and aesthetics, which amounted to a true revolution on the big screen. Throughout her life, Zineb Sedira felt close to this militant and anti-colonial movement inspired by the Cuban model, showing a political courage that she considers to be an important manifestation of solidarity at that time, and which she hopes to reactivate today.

In the course of her tremendous research at various international cinema archives, Sedira came across the 1964 documentary Les Mains libres (otherwise known as Tronc de figuier) by the Italian director Ennio Lorenzini at the AAMOD (The Audiovisual Archive of the Democratic and Labour Movement). The first known film to be produced in the then newly independent Algeria, it had since disappeared from the screen and from memory.

Moreover, in Dreams Have No Titles, her film for the French Pavilion, she inserts mise en abyme-like re-enactments and “makings of” film scenes, in which she constructs real movie sets and keeps track of the days when these sequences were shot. Zineb Sedira recalls: “I also relate the notion of remake to that of mise en abyme, which often crops up in my work. I myself am an artist-director making a film about films.

My personal history is the starting point for a mise en abyme of the history of cinema by means different strategies designed to create a fiction-reality”. Sedira’s theme of appropriation is questioned from the very opening scene of her film, referring to Orson Welles’ F for Fake and the director’s claim that “This film is about trickery”. With this in mind, Zineb Sedira also foregrounds the story of her own life, that of her family and of her community, ranging from the critique of colonial legacies to the ongoing debate about displacement and integration, vulnerability and resilience, as well as our ability to dream. Sedira sees herself as a kind of accidental actor, a famous filmmaker, a fake faker in search of real truth, challenging questions of authorship and authenticity. Two questions keep cropping up: who is writing (his)tory and for whom?

The artist uses music, film, literature, and other creative means to tackle the question of freedom, the struggle for liberation and other forms of resistance, and to fight against discrimination, colonisation and racism. By highlighting existing North-South solidarity networks, Sedira goes resolutely beyond the bipolar East-West division of the Cold War period or the Third World approach, drawing on her personal experiences with her family and her intellectual artistic community.

Zineb Sedira’s exhibition mirrors a “ball” to which she invites her spectators – to see her dance in order to resist, to mourn, perchance to dream. And her dreams have no titles.

Useful information for the visit

Hours: Gardens from 10.00 to 19.00. Arsenale from 10.00 to 19.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: aav@labiennale.org
Web: Biennale of Venice



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