Marseille 1971, lives and works in Mulhouse, France.
The work of Louidgi Beltrame is based on documenting modes of human organization throughout the history of the 20th century. He travels to sites defined by a paradigmatic relationship to modernity: Hiroshima, Rio de Janeiro, Brasilia, Chandigarh, Tchernobyl or the mining colony of Gunkanjima, over the sea off Nagasaki. His films – based on the recording of reality and the constitution of an archive – appeal to fiction as a possible way to consider History. More recently, his projects brought him on archeological sites in the Peruvian coastal desert: El Brujo, Moche culture ruins and the Nazca Lines that he connected respectively with the history of French “New Wave” cinema and American Land art of the 70’s. He completed in 2018, Mesa curandera a collaborative project with José Levis Picón a Peruvian Shaman whom he met in 2015.
Since 2003, his works have been shown in numerous exhibitions. His work was notably featured in personal exhibitions at the Contemporary Art Center Circuit (Lausanne, 2019), Contemporary Art Center Passerelle (Brest, 2018), Palais de Tokyo (Paris, 2016), Frac Basse-Normandie (Caen, 2015), Kunstverein Langenhagen (Langenhagen, 2015), Jousse Entreprise gallery (Paris, 2008, 2012, 2014, 2019), Fondation d’entreprise Ricard (Paris, 2010), Strasbourg Museum of Modern and Contemporary Art (2008), and at the Jeu de Paume (Paris, 2006). In 2018, he has been invited to take part to the 12Th Gwangju Biennale by curator Clara Kim, and in 2013, he has taken part to a film program curated by Apichatpong Weerasethakul for Sharjah Biennial 11. He has also participated in many festivals including FID Marseille, Doclisboa, Festival del Film Locarno, and the International Film Festival Rotterdam. His films have been shown in specific programs at the Centre Pompidou: Vidéo & Après in conversation with Pascal Beausse (Paris, 2011), and at the Musée du Louvre with Catherine David (Paris, 2013). His works have been shown in collective exhibitions including Stadtansichten, Kunstverein Heidelberg (2018), Y he aquí la luz, Museo de arte Miguel Urrutia de Bogotá (2017), What is not visible is not invisible, National Museum of Singapore (2016), Mutatis Mutandis, Secession (Vienna, 2012).