How Zineb Sedira turned the streets of Venice into her studio to make her installation for the French pavilion:
Zineb Sedira’s experience living between cultures—in Algeria where her parents are from, in France where she grew up, and in England where she has lived and worked since 1986—has always informed her work.
We caught up with the artist in her London studio where she was preparing to head to Venice. At the biennale, she has transformed the French pavilion into a cinematographic installation in which to watch her filmWhat is the most indispensable item in your studio, and why can’t you live without it? We visited in January and I shot my film there. Not all of it, but around 90 percent of it. It was a bit difficult, but we had to do it because of the content of the film—it has to be in Venice, so we had no choice. It was very cold, and because of the COVID restrictions, it wasn’t easy. We had to wear masks all the time and it was tough to shoot, especially in 60mm film, wearing masks.
Many archives [digitize their materials], and so it was kind of manageable for five months, but this isn’t the case in Algeria. Things haven’t been digitized. I did find ways around it, where I got people locally to go and do some research for me. Because the archives were open over there, but it was the traveling there that was difficult. So I hired a local person, a consultant, to do the research locally for me.We are getting toward the end now.
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