Over the last several years, Kader Attia has focused on the concept of repair as a way of understanding history and generating sculptural forms. His installation for “Here and Elsewhere" pairs two objects that are further linked through processes of restoration: a wooden board and a Carrara marble bust. Similar to one owned by his father, the board is a found object common in North Africa used to teach writing to children as well as Arabic to Berbers. The bust depicts a wounded French soldier from World War I whose face was surgically repaired by Hippolyte Morestin (1869–1919), a French surgeon and pioneer in modern cosmetic surgery. These two objects reveal the differences as well as the overlaps between technological innovation and craft, modernity and tradition, and between ideal forms and improvised reconstructions. Attia’s larger project on repair exposes the mechanisms of assimilation, syncretism, and colonialism that reverberate into the present.
Photo: Benoit Pailley
If I ever wanted to start a band again, I would select band mates via alienation.
Nehemiah Grew, from An Idea of a Phytological History Propounded, 1673
January 1, 1984, Greenham Commons: She Strung Together a Giant Web Made of Yarn. Attached to Balloons Filled with Helium and Bits of Tinfoil, It Would Dismantle the Airbase’s Entire Radar System
Gouache and graphite on tea stained paper, hand knit sweater
Painting: 27 x 35.63 in Sweater: Dimensions variable
Design by Marcel Duchamp.
old thing: putting stickers on CD that contained cusses
new thing: restrictive internet access for students