Born in 1952 in Minerviu, he lives and works in Paris and Corsica.

After taking film courses with Dominique Noguez at the Sorbonne, Ange Leccia made his first film attempts in the 1970s. Following a boarding school at the Villa Médicis, he began creating Arrangements in the 1980s in the form of face-to-face industrial objects. He also began teaching at the École Régionale des Beaux-Arts in Grenoble, where he accompanied a new generation of artists, including Dominique Gonzales-Foerster, Philippe Parreno and Pierre Joseph.

In the 1990s, Ange Leccia presented Mer, Explosions and Fumées, various contemplative videos edited in a loop, as well as three films on wandering: Île de Beauté, Gold and Malus, made with Dominique Gonzalez-Foerster. In 1997, he became a professor at the École Nationale Supérieure de Cergy and in 2000, director of the Pavillon du Palais de Tokyo. In 2005, he directed La Déraison du Louvre, a short film about a nocturnal drift delivered to the encounter with animated pictorial figures. The artist has also distinguished himself as a video and set designer for the shows of the singer Christophe (with Dominique Gonzalez-Foerster) and the choreographer Merce Cunningham. Ange Leccia's work has been the subject of solo exhibitions, notably in 1990 at the Magasin in Grenoble, in 1999 at the National Museum of Contemporary Art in Oslo and in 2007 at the Lieu Unique in Nantes. In 2013, the MAC/VAL (Vitry-sur-Seine, Val de Marne) devoted a monographic exhibition to him, Logical Song, as did the Palais de Tokyo in 2014 with Jamais la mer ne se retire.

Ange Leccia's artistic practice focuses mainly on images of departure, cycle, transmission and reception in order to highlight the meeting points between two things, in favour of a slowing down of our perception. Deeply fascinated by technology as the mark of his time, the artist describes himself as a "manipulator of the obvious" and expands his field of investigation in line with technical progress, while conceptually opposing the idea of fabrication.Leccia's exhibitions always have a feeling of fragility, between the simplicity of the objects presented and the often spectacular technical devices. The image itself is in flux, its appearance always leading to a disappearance. Whether it be the works that precede the "arrangements" (white and black paintings, performances, videos, films) or those that have succeeded them, they all denote a cinematographic know-how and obsessions that are lodged in light and time, space and intrigue. Right up to the current filmic devices where the image represents the fascinating place of attitudes and postures, of a constant duel without beginning or end.