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On the occasion of Kader Attia's comprehensive exhibition at the MMK Museum für Moderne Kunst Frankfurt/Main, we present here an overview of monographic articles about the artist in Nafas Art Magazine. Below, you will also find the access to all his projects and works featured in Nafas and Universes in Universe - Worlds of Art (UiU) since his participation in the 50th Venice Biennial in 2003.
Articles about Kader Attia in Nafas:
Kader Attia at KW Berlin
Interview by curator Ellen Blumenstein with the artist, related to his exhibition REPAIR. 5 ACTS at KW Institute for Contemporary Art, 2013. Nafas, July 2013
Kader Attia: The Repair, documenta 13
Reflections on his installation at documenta 13, Kassel. Essay by Serge Gruzinski, and a photo documentation of the work. Nafas, September 2012
Kader Attia's History of a Myth
The Small Dome of the Rock. Kader Attia and curator Laurie Ann Farrell are recipients of the Abraaj Capital Art Prize 2010. Curatorial text and photos. Nafas, March 2010
Kader Attia: Sacrifice and Harmony
Press information by MMK Frankfurt/Main
The highly acclaimed presentation of works by Kadia Attia (b. 1970) at the last documenta confirmed his position as one of the leading artists of his generation worldwide. The MMK Museum fur Moderne Kunst Frankfurt am Main is now devoting a comprehensive solo exhibition to this artist, who grew up in Algeria and in Paris. Having grown up as the child of Algerian immigrants in the Paris banlieues, his experiences in two different cultural milieux provide the basis for his artistic practice. In the exhibition at the MMK Attia explores the far-reaching effects of Western cultural hegemony on non-Western cultures against the background of our globalized present.
In his works, which are both aesthetically impressive and ethically challenging, Attia is concerned with the concept of "repair", which he has been exploring for many years and which he first fully elaborated in his magnificent installation The Repair from Occident to Extra-Occidental Cultures at documenta 13 (2012). Starting out from an old Congolese loincloth that had been patched with a piece of European material, the artist distinguishes between two different approaches to repair. The repaired artefacts found in ethnological collections clearly show the stitching and the staples, and thus the history of the object; the Western approach, by contrast, aims at an invisible restoration of the object to its original state. Attia considers these two approaches in relation to a whole variety of technologies and areas of knowledge and, by pointing to identical phenomena in different cultural settings, makes it impossible to assign them unequivocally to one specific culture or another. His aim is not to reconcile cultural differences but to heighten our awareness of pluralities.
For the exhibition Sacrifice and Harmony