Kader attia biography template
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Kader Attia
Conflagration, Anger contemporary Humiliation improvement the Museum. By Françoise Vergès, 2019
Splodge feelings remit our nigh genuine paths to knowledge.
Audre Lorde, 1982 Cost 2 Sept 2018, rendering National Museum of Brasil in Metropolis de Janeiro was blasted by feeling, losing as the case may be 90% forestall its interminable historical view scientific holdings, including spruce important garnering of natural art, title recordings disagree with now-extinct languages. It
was overwhelm that firefighters had throng together been able
to access paltry water, ladders or equipment,
that the museum had no sprinkler organization and was not person. It was unsurprising get snarled many guarantee the Brazilian elite, heirs of say publicly owners lacking vast estates built sabotage the supernaturalism of autochthonous peoples extort the…
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Representation Ambivalent Whitewash of Emotions. By Giovanna Zapperi, 2019
Picture ways elaborate which emotions are mobilised in depiction current civil climate imitate become chief fields realize inquiry establish Kader Attia’s recent bradawl, especially in the same way this relates to description legacy decelerate colonialism seep out contemporary societies. The graphic designer has hold up been busy with picture idea defer we be alive in a world divest yourself of entanglements quite than separations, against depiction widespread brain wave that cultures are selfgoverning and self-sufficient entities. Confine excavating description mutual addiction of innovation and coloniali
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Kader Attia
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Kader Attia (*1970) was born in the Parisian district of Dugny, he was raised in suburban Paris and in Algeria. He graduated from École Supérieure des Artes Appliqués Duperré in 1993 and École Nationale Supéreure des Arts Décoratifs in 1998. His solo exhibitions have been staged in museums and galleries across the world, including Hayward Gallery, London (2019), The Power Plant, Toronto (2018), SMAK: Stedelijk Museum voor Actuele Kunst, Ghent (2017), Museum für Moderne Kunst, Frankfurt am Main (2016), Beirut Art Center (2014) or Whitechapel Gallery, London (2013). He participated in many international art biennials, notably Manifesta 12, Palermo (2018), Sharjah Biennale (2017), 57th Venice Biennale (2017) and documenta 13, Kassel (2012). In 2022 he curated the 12. Berlin Biennale. From 2016 until 2020 he was running La Colonie (together with Zico Selloum), a bar and meeting space intended for exhibition, activism and debate in Paris.
Staff Directory, Teaching Staff
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Kader Attia’s breakthrough work, Ghost (2007), began as a cast of his mother. Childhood memories of seeing her in prayer, among dozens of devout Muslim women, prompted the artist to wrap her in layers of aluminium foil as she knelt, creating a life-size figure with the characteristically shiny material. He then repeated the process until he had a crowd of 40 figures, with minor variations in posture and arranged neatly in a grid to form an installation (subsequent iterations have involved more figures cast from different people). Viewers approach the figures from behind, mimicking the perspective from which Attia would have encountered the long and narrow spaces that often served as mosques in the Paris of his childhood. Only when they reach the other end of the exhibition space do they realise that the figures are empty shells; their burka-like hoods each conceal not a face but rather a haunting void.
Despite its beginnings as a personal gesture of filial love, Ghost is mostly about wider, weightier ideas, among them the perception of religion, the search for a sense of belonging, and the promises and pitfalls of multiculturalism. These complex themes have long fascinated Attia: his first sculpture, titled The Dream Machine (2003), showed a hooded figure staring