Articles

“Reason’s Oxymorons”. By Chad Elias, in: Kader Attia, The Hood Museum of Art, Dartmouth, 2018.

Over the course of two decades Kader Attia has developed a multimedia practice that investigates the cultural, political, and social transformations unleashed by colonialism. Central to this enquiry is the idea of “repair,” a concept that the artist uses to connect otherwise disparate fields of human activity: anthropology, architecture, craft, medical science, and psychiatry. Consider his installation The Repair: From Occident to Extra-Occidental Cultures (2013), which juxtaposes wooden sculptures made by traditional sculptors in Senegal with archival photographs of wounded World War I soldiers, whose faces have been subjected to rudimentary cosmetic surgery. In a Western cultural framework, repair is…
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Kader Attia. Sacrifice and Harmony. By Klaus Görner.

Published in: Kader Attia. Sacrifice and Harmony, exh. cat., MMK Frankfurt, ed. Klaus Görner, 2016. Kader Attia, who was born in Paris in 1970 and grew up in Algeria and the suburbs of the French metropolis, takes the experience of his life in two cultures as the point of departure for his artistic praxis. For his investigation of the far-reaching impact of colonialism and Western cultural hegemony on non-Western cultures he adopts a poetic symbolic approach and enquires into the identity politics of historical and colonial eras against the background of a globalised world. For several years, Attia has been…
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Destruction et réparation. By Philippe Dagen.

Published in: Kader Attia. Sacrifice and Harmony, exh. cat., MMK Frankfurt, ed. Klaus Görner, 2016. En se saisissant de la notion de réparation et en plaçant l’essentiel de ses réflexions et de ses travaux sous ce signe, Kader Attia accomplit un geste très singulier. Jusqu’alors, cette notion n’était pas apparue dans le champ de la création et de la réflexion artistique, et le mot n’y avait pas cours. Or elle touche à l’essentiel de notre temps. Par cette voie qu’il est le premier à suivre, Attia accède et fait accéder à une compréhension particulièrement pénétrante de notre monde et de…
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Kader Attia. The Phantom Limbs in Art. By Clémentine Deliss.

Published in: Kader Attia. Sacrifice and Harmony, MMK Frankfurt, Kerber, 2016. “Ceux qui sont morts ne sont jamais partis: Ils sont dans l’ombre qui s’éclaire…” (Birago Diop, “Les Souffles”, mars 1943) Since his seminal work on the gueules cassées, a two-channel projection that juxtaposed archival photographs of the mutilated faces of soldiers from WW1 with images of broken and mended ethnographic objects, Kader Attia has developed a unique continuum of inquiry between political, aesthetic, and architectural expressions of repair.[i] For Attia this word, with its mechanical, even domestic, connotations of stitching and fixing, extends beyond visible strategies of reparation and…
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All the Difference in the World Manthia Diawara On The Art Of Kader Attia, Manthia Diawara, 2014

  Published in: Artforum Lieux-Communs I was introduced to the work of Kader Attia at the 2009 Bamako Photo Biennale. At first, I was intrigued by his color photographs of a beach, covered with large sheets of white-grey concrete blocks, like somebody’s bad idea of a conceptual art installation. Then, on looking closely, one discovers that the photos are actually of a real beach, that of Bab El Oued, a poor neighborhood in Algiers, where the government had erected these huge concrete blocks to prevent young men from taking boats across the Mediterranean sea to Europe. So the photo installation…
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After-Flow: Kader Attia’s Postcolonial Topologies, Kobena Mercer, 2015

Published in: Kader Attia, Les blessures sont là, exh. cat., Musée cantonal des Beaux-Arts, Lausanne, edited by Nicole Schweizer, edition jrp-ringier. Order   Post ... refers to the aftermath or after-flow of a particular configuration. The impetus which constituted one particular historical or aesthetic moment disintegrates in the form we know it. Many of those impulses are resumed or reconvene in a new terrain or context, eroding some of the boundaries that made our occupation of an earlier moment seem relatively clear … and opening in their place new gaps, new interstices.     Stuart Hall (1)   Encountering the two-channel slide projection in…
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Kader Attia – A Glissantian Reading, Manthia Diawara, 2014

Writing published in Kader Attia, The Repair from Occident to Extra-Occidental Cultures, edited by The Green Box, Berlin 2014 Order   Lieux-Communs I was introduced to the work of Kader Attia at the 2009 Bamako Photo Biennale. At first, I was intrigued by his color photographs of a beach, covered with large sheets of white-grey concrete blocks, like somebody’s bad idea of a conceptual art installation. Then, on looking closely, one discovers that the photos are actually of a real beach, that of Bab El Oued, a poor neighborhood in Algiers, where the government had erected these huge concrete blocks to prevent young men…
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Repair as Redemption or Montage: Speculations on Kader Attia’s Ladder of Light, Kim West, 2013

Writing published in the Kader Attia Exhibition Catalogue : Continuum of Repair: The Light of Jacobs Ladder, 2013-2014, at the Whitechapel Gallery, London. ©All Rights Reserved. Order 1. Kader Attia’s large, multi-media installation The Repair: From Occidental to Extra-Occidental Cultures, shown at dOCUMENTA (13) in Kassel, Germany in 2012, was articulated around a series of striking, unsettling juxtapositions. On the one hand, there were photographs of horribly mutilated, scantly reconstructed faces of survivors of the battlefields of the First World War. On the other hand, there were artefacts – totems, sculptures, toys and tools – from different cultures of the…
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Kader Attia: The Infinite Library, Emily Butler, 2013

Writing published in the Kader Attia Exhibition Catalogue : Continuum of Repair: The Light of Jacobs Ladder, 2013-2014, at the Whitechapel Gallery, London. ©All Rights Reserved. Order The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries. […] In the hallway there isa mirror which faithfully duplicates all appearances. Men usually infer from this mirror that the Library is not infinite (if it really were, why this illusory duplication?); I prefer to dream that its polished surfaces represent and promise the infinite… Jorge Luis Borges, ‘The Library of Babel’1 A towering…
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The Cannibalization of the Other. Mirror, Art, and Postcolonialism in Kader Attia’s Repair. 5 Acts, Thomas Reinhardt, 2013

Writing published in the Kader Attia Exhibition Catalogue : Repair. 5 Acts, 2013, at Kunst-Werke, Berlin. ©All Rights Reserved. Order Acts of Cannibalism Around 1510 the Portuguese painter Jorge Afonso (ca. 1470–1540) put the final touches on a depiction of the Annunciation. The painting, in the Italian style, is an early exercise in central-perspective composition. The Virgin Mary and Archangel Gabriel kneeling before a lectern take up the foreground, while the Holy Spirit floats above the scene like a round lamp. A suite of rooms, stairways, furniture, and porticoes attempts (with quite limited success) to give an impression of spatial…
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“The Sound Like a Rumour”, Françoise Vergès, 2013

Writing published in the Kader Attia Exhibition Catalogue : Repair. 5 Acts, 2013, at Kunst-Werke, Berlin. ©All Rights Reserved. Order Never has the world been so rich, and yet never has it been so out of joint. The gap between the remarkable accumulation of discoveries in technology and science in the fields of biology, neurology, reproduction, archaeology, climate, astronomy, and of evolution is growing—and also between the ferocity of financial capitalism and the difficulties faced by societies in resolving basic problems (access to clean water, to health, to food). We are simultaneously told that the current globalization will bring a…
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Randonnée: Objects and Quasi-Objects, Ellen Blumenstein, 2013

Writing published in the Kader Attia Exhibition Catalogue : Repair. 5 Acts, 2013, at Kunst-Werke, Berlin. ©All Rights Reserved. Order The new Zenon, from Paris or London, called his method “randonnée” because two close and nonetheless differentiated relative words developed from an old word from the language of hunters: the French “randonnée,” wandering or foray, and the English “random,” chance, and because he wanted to unite the two meanings with each other once again, across the English Channel or the St. Lawrence River. Michel Serres, Hermès V: Le passage du Nord-Ouest Topos My place as a thinking being, as a…
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On void and what it contains, Jacinto Lageira, 2014

Writing published in "RepaiR", edited by Kader Attia and Léa Gauthier, BlackJack Editions Order   Any plastic material conveys socio-political meanings, even when its forms are clean, simple, seemingly anodyne and neutral, as though completely transparent. Donald Judd amongst others never ceased to assert this, thereby showing the error of excessively formalist readings of his work. In addition to the fact that a majority of receivers feigns time and again to separate content and form, content and appearance, or meaning and representation, such an attitude pushes us into the trap we wish to avoid, since the dichotomy is due in large part…
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Repairing, resisting, Jacinto Lageira, 2014

Writing published in the monograph Kader Attia: The Repair from Occident to Extra-Occidental Cultures. The Green Box, Berlin 2014 Order   The legal notion of reparations for historical wrongs is a product of US jurisprudence that is now recognized and applied internationally. Its claim is that History is now subject to trial, that reparations can now be sought on the basis of historical prejudice materially, politically and symbolically. (más…)
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Repair: Architecture, Reappropriation, and The Body Repaired, Kader Attia, 2013

"From Antiquity, we have believed that we build, deconstruct, and rebuild, while all we do is repair." — Serge Gruzinski  1. Reappropriation (más…)
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From Holy Land to Open your eyes, Serge Gruzinski, 2012

Published in the leaflet accompanying Kader Attia's installation at dOCUMENTA (13). Translated from French by Hoda Fourcade Zeid. © Copyright: Black Jack Editions Order We remember Holy Land (2006), this Canary seashore that Kader Attia turned into a cemetery. It is on a similar strand that motor-boats unship stowaways who are in search of a promised land, at least those who didn’t disappear swallowed up by the waves. (más…)
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The Space in Between. A conversation with Kader Attia by Rebecca Dimling Cochran, 2010

Kader Attia is captivated by what happens in the space between things. He often inverts the traditional figure /ground relationship, focusing, for instance, on the environment created between two buildings rather than on the buildings themselves. (más…)
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Kader Attia, Centre de Création Contemporain Tours, France by Nuit Banai, 2009

The implications of Kader Attia’s installation Kasbah, 2009, extended well beyond the gallery’s bare concrete walls and low, unfinished ceilings. (más…)
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Kader Attia at Christian Nagel by Gregory Volk, 2010

Article published in: Art in America, International Review, 2/23/10 BERLIN Kader Attia is a French artist of Algerian descent who grew up in the immigrant banlieues of Paris, sites of poverty, crime and, in 2005, massive rioting. (más…)
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Never Quite Filling the Void by Anna Altman, 2009

Article published in: Art in America, International Review, 09/24/09 Le plein („the complete“) – the formal tensions between presence and absence, the metaphysical distances between artist, object, and viewer – feature literally and conceptually in Kader Attia’s sculpture, photography, and Video. (más…)
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Kader Attia – Alpha Beta by Storm Jansen von Rensburg, 2009

Kader Attia conceived the sublimely dangerous installation, Alpha Beta at a time, perhaps surreptitiously, when knife crime in London hit headlines in tabloids and dailies in the United Kingdom and abroad. (más…)
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