nothing too see

Repairing, resisting. By Jacinto Lageira, 2014

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.


The Culture of Fear: An Invention of Evil #1, 2013


7. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3775 8. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3782 9. Kader Attia (left) und Ferdinand van Kessel (right)_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3727 6. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3771 5. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3769 4. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3762 3. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3758 2. Kader Attia_Exhibition View_Salon der Angst_Kunsthalle Wien_Foto Andrea Fichtel_MG_3750


Installation 2015 at The Injuries are here, Musée Cantonal des Beaux Arts de Lausanne, Lausanne

Salles, Kader Attia, mai 2015 Salles, Kader Attia, mai 2015 Salles, Kader Attia, mai 2015 Salles, Kader Attia, mai 2015 Salles, Kader Attia, mai 2015



History of Reappropriation, 2012

Photography, 2012

History of Reapp 1 History of Reappropriation

Modern Genealogy, 2012

Collages, 2012

ATT_P_4.001.L ATT_P_3.001.L ATT_P_1.001.L Kader Attia Modern Genealogies ATT_P_5.001.L ATT_P_6.001.L

The Body as a Target and Object of Power, 2010

Slide Show, Kunsthaus Glarus, Glarus, Switzerland, 2010

Messe Basel 2010 23_1

Messe Basel 2010 21_1

Messe Basel 2010 17_1


Ghardaia, 2009


Kader Attia Ghardaia Ghardaia6 Ghardaia7 Ghardaia9


Demo(n)cracy, 2009

Sculpture, 2009



Untitled (Couscous), 2009


Kunsternes, Oslo, Norway, 2009

CCC de Tours

Collection Lambert




































Installation 2015 at The Injuries are here, Musée Cantonal des Beaux Arts de Lausanne, Lausanne

30_salle_kader_attia 31_salle_kader_attia 32_salle_kader_attia

Kasbah, 2008

Centre de Création Contemporain de Tours, 2009

IMG_8974  IMG_8956

Kader Attia kasbah


K Attia Kasbah Mexico 14

Sala de Arte Público Siqueiros, 2009/2010

Biennale of Sydney, Sydney / Australia 2010

Culturgest Fundação Caixa Geral de Depòsitos, Lisbon


Flying Rats, 2008


8th Lyon Biennale, France, 2008

Kader Attia Flying Rats Flying_RatsHD5 Flying_RatsHD6


Untitled (Concrete Blocks), 2008


Centro Atlántico de Arte Moderno, las Palmas de Gran Canaria, Spain, 2008 


Galleria Continua, San Gimignano, Italy, 2012

Kader Attia Concrete blocks



Räume der Erinnerung, Kunsthalle Düsseldorf, 7.07.-09.09.2012

From Holy Land to Open your eyes. By Serge Gruzinski, 2012

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.


The space, another body

My name is Kader Attia, I grew up between France and Algeria.

Until the age of 12, my parents were not decided to stay at the same place. So I was going back and forth between Algeria and France, between an Oriental and an Occidental world.

Reappropriation as Resistance, 2012

According to several postmodern philosophers and other theoreticians of Architecture, from Foucault to Lyotard and Charles Jencks, modernity is said to have started with the Renaissance.If I reach into my cinematographic memory and remember the movie 2001: A Space Odyssey (1968), I tend to believe otherwise.

Lost Boundaries. By Kobena Mercer, 2009

A line cuts through a town square and divides public space in two. As a result of this action a boundary has been created,

Untitled (Skyline), 2007


Baltic Center for Contemporary Art, Newcastle, UK, 2007


SCAD, Atlanta, USA 2008

                      Kader Attia Skyline Atlanta

Centre Georges Pompidou, Paris, France, 2010

Kader Attia Skyline POmpidou



The Landing Strip – 50th Venice Biennale, 2003

Untitled (Concrete Pillars), 2007

KadaAttia-2 KadaAttia-3 KadaAttia-4 KadaAttia-6


Untitled (Skyline) Baltic Center for Contemporary Art, 2007


The Loop, 2006


Musée d’Art Contemporain de Lyon, France, 2006

Kader Attia The Loop djpendu brkdncer2

Holy Land, 2006

Installation, 2006

Kader Attia Holy Land Continua

HL Continua 2

Holy Land 1 Holy Land nuit1


Arabesque, 2006

Sculpture, 2006


Kader Attia Arabesque

Untitled (Glass Cube), 2006

Sculpture, 2006

untitled1 untitled2 untitled3 untitled4 untitled5




Dream Machine, 2003

Installation, 2003

Kader Attia Dream Machines DM3 DM4


Conceptualising Modernist Architecture in Trans-Cultural Spaces, Interview with Kobena Mercer, 2011

Kobena Mercer: Art and architecture have become increasingly closely connected, but in con- trast to artists whose sculpture explores the purely formal properties of space, or architects who have constructed gallery spaces for the exhibition of art, your work has a strong historical or even archeological dimension with regards to our understanding of architecture in colonial or post-colonial contexts. How did your research interests in colonial architecture come about, and how would you characterize the conceptual issues that you set out to explore in works such as Kasbah (2007)?

Signs of Reappropriation, 2011

Our economy is a system in which amnesia and sophism fuel short-term vision and thought. People do not invest in a real thing anymore. Today, it is always about “the option to buy” any and every commodity.

Kader Attia’s History of a Myth: The Small Dome of the Rock. By Laurie Ann Farrell, 2010

Aesthetic, cultural, philosophical and social theories all buttress the conceptual underpinnings of Kader Attia’s installations, photographs and films.

The Space in Between. A conversation between Kader Attia and 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.

Kader Attia at Christian Nagel. By Gregory Volk, 2010

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.

The Colonial Modern, 2009

My researches have led me to be more and more interested in the notion of «signs of reappropriation». It is important for me, especially when talking about some «post-modernist» architectural theories that were experimented early 50’s, in Algeria, by Fernand Pouillon, and then implemented in the French banlieues, before being spread all around the world.

Ghardaia-Le Corbusier, 2009

My researches have led me to be more and more interested in the notion of «signs of re-appropriation».


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.

Kader Attia – Alpha Beta. By Storm Janse van 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.

Between the Things and the Words, Interview with Octavio Zaya, 2008.

Octavio Zaya-   In a recent statement that you made public during your exhibition at the Henry Art Gallery in Seattle (USA), you mentioned that you have been questioning political issues through art, and that from the resulting reflections you have taken “a more critical step”, questioning “the limits of these discourses” in the face of everyday life. Could you elaborate on these “critical steps” and on what is it that you understand as the “limits” of these political discourses?

Rochers Carrés, 2008

I have been thinking about the notion of boundary — geographical, cultural, sexual, religious, philosophical — for a long time. I am interested in that issue, notably through the way architecture and urbanism have an impact on peoples’ everyday life, and particularly the way power has always used them to oppress pop- ulations.

Myths and Poetry of emptiness, 2008

For several years now, I have been questioning political issues through Art, conducting my researches on these topics always in the light of psychoanalysis and philosophy. As someone born in France from Algerian parents, my childhood, spent between France and Algeria, has led me to feel close to Oriental and Arab philosophy, as well as to Occidental philosophy.


Black and White – Signs of Times, 2008

Reason demonstrates that the order of things does not only lean on a system based on comparisons or similarities (Rene Descartes, Les Regulae).Indeed, through inference, we can also assimilate differences between things, as analogies that bind things together.

Upon Pillars of Sand, Pillars of Salt… Kader Attia’s Holy Land. By Octavio Zaya, 2008

The body of work which has won Kader Attia recognition and acclaim is customarily considered through the popular cliché concerning the simplistic opposition between East and West.


Kader Attia. By Régis Durand, 2008

From La Piste d’atterrissage (The Landing Strip, 2000–02) to Rochers Carrés (Square Rocks) and Casbah (2008), Kader Attia has come a long way.


The Landing Strip, 2000

Slide Show, 2000

Centre National de la Photographie, Paris, France, 2000

50th Venice Biennale, 2003

The Landing Strip 7-light

la piste 2-light

la piste 3-light la piste 5-light la piste 6-light la piste 9-light lapiste 4-light


Interview with Nicolas Baume, 2007

For Momentum 9, French artist Kader Attia uses simple materials—foam-padded cots bearing the imprints of bodies—create a poetic meditation on childhood, absence, and community (see p. TK). Chief Curator Nicholas Baume spoke with Attia recently about his creative approach, the threads that unite his works, and the importance of emptiness.

Sleeping from Memory. By Nicolas Baume, 2007

One motivating question informs all of Kader Attia’s art: how to find in his own experience a chain of ideas that will lead him to the poetic, transformative work of art.

The Dream Circus or: Why did the D.J. commit Suicide? By Tami Katz Freiman, 2007

Kader Attia belongs to a special breed of artists, who in another incarnation might have become anthropologists or scholars of culture. As a member of the north-African community in Paris, Attia examines the conflicted identity of his uprooted culture vis-à-vis the seductiveness of consumer culture and the Western world of material abundance.

Faults, 2003

For several years now, I am questioning fundamental issues through Art, conducting my research- es on these topics always in the light of philosophy, psychoanalysis and poetry.