02. Artists

Kader Attia

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b. 1970 in Dugny (France); lives and works in Berlin (Germany)

Kader Attia’s work is often concerned with repairing, reconstructing and putting things back into shape – from a point of view that is as physical as it is psychic, historical and personal. His films and installations reveal the intangible, invisible strands linking today’s societies in both hemispheres.
His work has been shown at the Venice Biennale, Documenta (Kassel), the KW Institut (Berlin), the Whitechapel Gallery (London) and the Musée d’Art Moderne de la Ville de Paris.

© Per KRISTIANSEN


Works


La vie moderne

Les oxymores de la Raison / Reason's oxymoron, Création Biennale 2015

Installed in the middle of what looks like an open plan office devoted to archives, Kader Attia’s Réparer l’irréparable (Repairing the Unrepairable)consists of 18 videos which make up an essay on the psychiatric pathology as it is perceived in traditional non-Western cultures, on the one hand, and in modern Western societies, on the other. Through a series of interviews with philosophers, ethnologists, historians, psychiatrists, psychoanalysts, musicologists, patients, healers, fetishists, and griots, which are a mix of rational explanations and irrational representations of what the West calls psychiatry, the work is particularly concerned with the question of the unrepairable, inherent in the idea of “repair”, and it calls into question the ambivalence of the psyche of modern Western societies towards traditional non-Western societies.

Galleria Continua, Les Moulins

Venues : La Sucrière

Getting there

La vie moderne

Traditional Repair, Immaterial Injury, Création Biennale 2015

Kader Attia’s work for the Biennale pursue a notion he is fond of: it is concerned with repairing, reconstructing and putting things back into shape. In Traditional Repair, Immaterial Injury, the floor of the Sucrière is “repaired” with staples that bite into the concrete and squeeze together the cracks in the building, which was a factory before it became an exhibition venue. The lesion on the floor, although it is “fixed”, remains visible. Attia’s intention here is to emphasise the difference between a way of repairing things in societies that seek, at all costs, to restore the object to its initial state, and the highly visible approach to repair that one finds in non-Western societies.

Courtesy l'artiste, Galerie Nagel Draxler, Berlin et Lehmann Maupin Gallery, Nex York

Venues : La Sucrière

Getting there



Gallery
Kader Attia 6 photos
1/0

© Blaise Adilon

Kader Attia
Les oxymores de la Raison / Reason's oxymoron - Création Biennale 2015
La vie moderne | La Sucrière
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© Blaise Adilon

Kader Attia
Les oxymores de la Raison / Reason's oxymoron - Création Biennale 2015
La vie moderne | La Sucrière
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© Blaise Adilon

Kader Attia
Traditional Repair, Immaterial Injury - Création Biennale 2015
La vie moderne | La Sucrière
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© Blaise Adilon

Kader Attia
Traditional Repair, Immaterial Injury - Création Biennale 2015
La vie moderne | La Sucrière
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© Blaise Adilon

Kader Attia
Traditional Repair, Immaterial Injury - Création Biennale 2015
La vie moderne | La Sucrière
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© Blaise Adilon

Kader Attia
Traditional Repair, Immaterial Injury - Création Biennale 2015
La vie moderne | La Sucrière