Podcasts about Kader Attia

Für die neue Ausgabe des Weltkunst-Podcasts: "Was macht die Kunst?" spricht Lisa Zeitz mit Kader Attia über seine neue Ausstellung „J'Accuse“ in der Berlinischen Galerie und geht dabei insbesondere auf das Prinzip der „Reparatur“ ein, welches seit vielen Jahren eine Konstante in seiner Arbeit bildet. Der "WELTKUNST-Podcast - Was macht die Kunst?" wird in Partnerschaft mit Volkswagen produziert.

Alors qu'il accueille des centaines de milliers de personnes chaque année, qu'elles sont d'âge, de professions et de régions différentes, que les dispositifs de démocratisation foisonne, il est encore parfois reproché au Festival d'Avignon d'être élitiste. On démêle le vrai du faux dans un épisode tout spécial.Ce dont il est question dans cet épisode :Sur l'histoire de la création du FestivalSur la visite guidée de Clément DemontisL'édito d'Olivier PyLa prise de parole de Tiago RodriguesLes initiatives du FestivalL'étude des publics (2014)La tribune de Kader Attia et Eva Doumbia dans AOC MediaProchainement dans Dramathis : The Confessions d'Alexander Zeldin et Dispak Dispat'ch de Patricia Allio.Remerciements spéciaux à l'ensemble de l'équipe du Festival d'Avignon, à Carmen, Françoise, Dominique et même Brigitte, au Syndicat de la Critique, Camille Emilie. Dramathis est un podcast pour se réconcilier avec le théâtre, écrit, produit, réalisé et mis en musique par Mathis Grosos. Retrouvez-moi sur instagram et tiktok pour plus de contenus autour du théâtre. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Alors qu'il accueille des centaines de milliers de personnes chaque année, qu'elles sont d'âge, de professions et de régions différentes, que les dispositifs de démocratisation foisonne, il est encore parfois reproché au Festival d'Avignon d'être élitiste. On démêle le vrai du faux dans un épisode tout spécial.Ce dont il est question dans cet épisode :Sur l'histoire de la création du FestivalSur la visite guidée de Clément DemontisL'édito d'Olivier PyLa prise de parole de Tiago RodriguesLes initiatives du FestivalL'étude des publics (2014)La tribune de Kader Attia et Eva Doumbia dans AOC MediaProchainement dans Dramathis : The Confessions d'Alexander Zeldin et Dispak Dispat'ch de Patricia Allio.Remerciements spéciaux à l'ensemble de l'équipe du Festival d'Avignon, à Carmen, Françoise, Dominique et même Brigitte, au Syndicat de la Critique, Camille Emilie. Dramathis est un podcast pour se réconcilier avec le théâtre, écrit, produit, réalisé et mis en musique par Mathis Grosos. Retrouvez-moi sur instagram et tiktok pour plus de contenus autour du théâtre. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Die 12. Berlin Biennale für internationale zeitgenössische Kunst wird kuratiert vom algerisch-französischen Künstler Kader Attia. Kunstkritiker Carsten Probst konnte sich einige Werke schon vor der Eröffnung ansehen: Es geht um sozial-dokumentarische Kunst, die sich marginalisierten Gruppen in aller Welt zuwendet.Probst, Carstenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

„Die Welt ist von den Wunden gezeichnet, die im Laufe der Geschichte der westlichen Moderne entstanden sind“, das hat Kader Attia gesagt, Kurator der 12. Berlin Biennale. Die startet am Wochenende und wir sich unter dem Titel "Still Present" mit den Hinterlassenschaften der Moderne beschäftigen wird. Was da zu erwarten ist, erzählt uns Monopol-Chefredakteurin Elke Buhr. Moderation: Til Schäbitz detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

“À mains nues“Exposition de la collection 2022-2023au MAC VAL, musée d'art contemporain du Val-de-Marne, Vitry-sur-Seineà partir 9 janvier 2022, pour toute l'année 2022 et jusqu'à la fin de 2023Interview de Alexia Fabre, directrice du MAC VAL,par Anne-Frédérique Fer, à Vitry-sur-Seine, le 20 janvier 2022, durée 15'37.© FranceFineArt.Communiqué de presse Commissariat : Alexia Fabre, directrice du MAC VALPour entamer 2022 sous les meilleurs auspices, le musée départemental du Val-de-Marne invite ses visiteurs à partir de début janvier et pendant toute l'année, à une plongée vivifiante dans l'art le plus actuel. Sous l'intitulé de « À mains nues », la nouvelle exposition de la collection du MAC VAL poursuit l'exploration de l'humain en rassemblant des œuvres récentes ou plus anciennes d'artistes illustrant la vivacité de la création contemporaine autour du fil conducteur du corps, de son langage, de son pouvoir et de sa puissance de réinvention. Toutes les œuvres présentées évoquent la réinvention de soi, le futur qu'il appartient à chacun de créer, à mains nues. Après l'expérience partagée de la pandémie, d'empêchement de l'autre, de son contact, du violent constat de la fragilité corporelle et du statut de corps vivant, pour cette nouvelle proposition le MAC VAL a souhaité cette fois se projeter dans le futur en l'envisageant avec désir, élan et espoir.Les œuvres ici réunies racontent d'une part la corporéité et son langage, les fluides vitaux, les membres, dont les mains, qui incarnent la question de la réinvention de soi contre la réalité, la fatalité ou les déterminismes sociaux. La fiction, le récit, la mise en scène, le travestissement sont autant de stratégies mises en œuvre par les artistes pour engager cette réinvention, douce, déterminée ou plus guerrière. L'adresse à l'autre, à son regard comme à son corps est au cœur des œuvres, à travers la fabrication de sa propre image, portraits ou autoportraits qui résonnent ainsi avec les phénomènes historiques et contemporains de l'invention de soi.Point saillant de l'exposition, l'artiste Gaëlle Choisne, invitée par Alexia Fabre pendant toute cette année 2022, introduit le vivant dans les salles du musée : elle accueille le corps des visiteurs comme sujet même du projet et met en œuvre le principe d'hospitalité, colonne vertébrale de la programmation du musée, afin de l'envisager et d'en prendre soin.Avec les artistes : Boris Achour, Pierre Ardouvin, Bianca Argimón, Kader Attia, Élisabeth Ballet, Jean-Luc Blanc, Éric Baudart, Nina Childress, Gaëlle Choisne, Clément Cogitore, Mathilde Denize, Angela Detanico et Rafael Lain, Edi Dubien, Mario D'Souza, Mimosa Echard, Éléonore False, Sylvie Fanchon, Valérie Favre, Esther Ferrer, Nicolas Floc'h, Mark Geffriaud, Shilpa Gupta, Kapwani Kiwanga, Thierry Kuntzel, Emmanuel Lagarrigue, Ange Leccia, Natacha Lesueur, Annette Messager, Marlène Mocquet, Charlotte Moth, Frédéric Nauczyciel, Romina de Novellis, Melik Ohanian, Bruno Perramant, Françoise Pétrovitch, Abraham Poincheval, Laure Prouvost, Judit Reigl, Jean-Luc Verna, Catherine Viollet, We Are The Painters… Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Ce livre-DVD réunit le film de Gilles Coudert et une publication qui présente le projet Trankat Episode #1. Cette exposition rassemble les œuvres créées par les artistes en résidence Trankat à Tétouan en 2013, Fouad Bouchoucha, Jordi Colomer et Moussa Sarr, mises en regard avec des créations de Simohammed Fettaka, Mohssin Harraki, Youssef El Yedidi et Kader Attia, invité d'honneur. Exposées pour la première fois, les oeuvres des artistes résidents sont issues d'une rencontre entre savoir faire traditionnels et création contemporaine.Tandis que le film propose un focus sur les processus de production à Tétouan, le livre retrace le making of des résidences et offre un panorama des oeuvres de l'exposition. Une série d'entretiens menés par la curatrice Bérénice Saliou donne la parole aux artistes en apportant un éclairage sur leurs pratiques.LIVRE :Textes de Bertrand Commelin, Anita Dolfus, Younès Rahmoun, Kader Attia et Bérénice Saliou.éd. française / arabe – 21 x 15 cm (cousu) – 96 pages (coul. & n/b)DVD :Film Trankat Episode #1 de Gilles Coudert (23 min. / 2014)Version française - DVD Pal Toutes zones 

L'arte può essere un linguaggio universale, capace di mettere in contatto culture diverse e lontane tra loro, ma può anche servire a rivendicare un'identità cancellata e rimossa. Ed è per questo che spesso l'arte ha dato voce a chi è stato costretto a lasciare il proprio Paese per potersi guadagnare da vivere o per veder rispettati i propri diritti di essere umano. Dalle sanguigne performance di Tania Bruguera all'elegante visione del postcolonialismo offerta da Yinka Shonibare, fino alle commoventi intuizioni di Emily Jacir, l'arte ha raccontato in diversi modi l'esperienza della migrazione, ma Costantino e Francesco riescono a portare un po' di leggerezza anche su un tema duro come questo, parlando del profondo legame tra Kader Attia e i formaggini e offrendo un punto di vista molto originale sulle trovate di Ai Weiwei.In questa puntata si parla di CAMP, Tania Bruguera, Yinka Shonibare, Massimo Bottura, William Hogart, Robert Louis Stevenson, Oscar Wilde, Okwui Enwezor, Kader Attia, Emmanuel Macron, Georges Adéagbo, Régine Cuzin, André Magnin, Harald Szeemann, Mona Hatoum, Hillary Clinton, Emily Jacir, Malala Andrialavidrazana, Danh Vo, Ai Weiwei, Charles-Maurice de Talleyrand-Périgord, Victor Burgin e Art & Language.

Bienvenues dans le beau bizarre, un espace sonore libre et hybride, un espace qui tente parfois de réparer la blessure.... L'exposition Répare, Reprise présentée à la Cité internationale des arts est organisé par l'association Portes ouvertes sur l'art. Des portes ouvertes sur des artistes qui viennent de contextes culturels et politiques différents, qui ont décidé pour certains ou certaines de fuir ces contextes en s'installant à Paris et y travailler leur art. Pour cette exposition les artistes invité.e.s ce sont Majd Abdel Hamid, Azza Abo Rebieh, Kader Attia, Sammy Baloji, Yacob Bizuneh, Bady Dalloul, Khaled Dawwa, Kholod Hawash, Katia Kameli, Farah Khelil, Randa Maddah, Sara Ouhaddou, Khalil Rabah, RAMO, Maha Yammine... Le commissariat de l'exposition est confié à l'artiste et cinéaste Nora Philippe. Ses recherches s'intéressent aux « archives ordinaires », aux pratiques féministes et décoloniales. Elle tourne actuellement le film Restituer ? sur la restitution des œuvres africaines par les musées occidentaux. Le titre de l'exposition collective Répare, Reprise, a été traduit en arabe par Tafqiq, c'est à dire l'action de décomposer, déconstruire et d'analyser. Pour plusieurs raisons, l'épisode du jour prendra un format particulier. Avec l'idée de transformer la contrainte en une nouvelle tentative de restitution. Grâce au brillant médiateur de l'association, Axel Thoinon, l'épisode sera une visite guidée par ses paroles... L'exposition reste visible jusqu'au 10 juillet à la cité internationale des arts à Paris : https://www.citedesartsparis.net/fr/exposition-repare-reprise-portes-ouvertes-sur-lart-cite-internationale-des-arts Suivez nous sur les réseaux, abonnez vous sur les plateformes d'écoute ! Facebook Linkedin Instagram

“Répare Reprise”à la galerie – Cité internationale des arts, Parisdu 1er avril au 10 juillet 2021Interview de Nora Philippe, commissaire de l'exposition,par Anne-Frédérique Fer, enregistrement réalisé par téléphone, entre Paris et la Bretagne, le 7 avril 2021, durée 34'43, © FranceFineArt.Extrait du communiqué de presse :Une proposition de l'association Portes ouvertes sur l'art et de la Cité internationale des artsCommissariat : Nora PhilippeRépare Reprise* présente des oeuvres de Majd Abdel Hamid, Azza Abo Rebieh, Kader Attia, Sammy Baloji, Yacob Bizuneh, Bady Dalloul, Khaled Dawwa, Kholod Hawash, Katia Kameli, Farah Khelil, Randa Maddah, Sara Ouhaddou, Khalil Rabah, RAMO, Maha Yammine.L'exposition Répare Reprise donne la voix à des artistes provenant du Moyen-Orient ou d'Afrique, qui ont, pour la plupart, connu l'exil. Ils et elles viennent de Syrie, du Liban, de Palestine, d'Irak, d'Iran, du Golan, du Congo RDC, d'Ethiopie, d'Algérie, de Tunisie et de France. L'exposition s'inscrit dans la continuité des missions de l'association Portes ouvertes sur l'art, et dans la nature même du projet de la Cité internationale des arts, lieu d'hospitalité et d'accueil d'artistes internationaux en résidence depuis 1965.Non pas préoccupés de thématiser la migration ou de présenter un témoignage, les artistes ici réuni.es tentent plutôt, dans un monde éclaté, de recomposer des imaginaires politiques et de réparer des espaces intimes. Ces espaces se déclinent depuis la maison comme refuge, en détournant objets et pratiques associées au domestique (couture, tissage, broderie), à des communs plus vastes, tels que des fonds d'archives publics patiemment dépouillés et décolonisés, et des cartographies nouvelles pour des territoires meurtris par les guerres. Ils et elles récupèrent et transforment des objets composites, doubles de psychés en reconstruction, évident ou recouvrent des iconographies coloniales tenaces, élèvent des monuments faussement figuratifs à des mémoires tues. Les oeuvres récentes ou inédites que rassemble Répare Reprise convoquent la sculpture, l'installation vidéo, la peinture, la gravure, les arts textiles et la photographie; elles proposent une traversée autour de la ruine, de la répression et du trauma, pour s'ouvrir sur des détricotages poétiques ou rapiéçages salvateurs de drapeaux, de linge, de journaux, et, dans le champ de l'image en mouvement, sur des paysages aimés réinvestis. Objets vivants, les oeuvres de l'exposition souvent appartiennent à des séries en cours perpétuel de production, parce que le geste seul, sans doute, peut circonscrire l'onde de choc, et réparer les récits fauchés comme les images qui, la nuit, reviennent encore.* en arabe se prononce « tafkik » et signifie « déconstruire, décomposer, analyser ». L'exposition s'accompagne d'un cycle de rencontres avec les artistes, à la Cité internationale des arts, et en virtuel. La plupart des artistes invité.es de « Répare Reprise » ont bénéficié d'une résidence ou sont actuellement en résidence à la Cité internationale des arts. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. In the run-up to the conference The White West IV: Whose Universal? (summer 2021), the podcast invites participants of the conference to discuss the overlaps between metaphysical predicates and colonial formations. Kader Attia in conversation with Norman Ajari More information: www.hkw.de/whoseuniversal www.hkw.de/en/thewhitewest

Episode 55 features Courtney J. Martin. In 2019, she became the sixth director of the Yale Center for British Art. Previously, she was the deputy director and chief curator at the Dia Art Foundation; an assistant professor in the History of Art and Architecture department at Brown University; an assistant professor in the History of Art department at Vanderbilt University; a chancellor’s postdoctoral fellow in the History of Art at the University of California, Berkeley; a fellow at the Getty Research Institute; and a Henry Moore Institute research fellow. She also worked in the media, arts, and culture unit of the Ford Foundation in New York. In 2015, she received an Andy Warhol Foundation Arts Writers Grant. In 2012, Martin curated the exhibition Drop, Roll, Slide, Drip . . . Frank Bowling’s Poured Paintings 1973–1978 at Tate Britain. In 2014, she co-curated the group show Minimal Baroque: Post-Minimalism and Contemporary Art at Rønnebæksholm in Denmark. From 2008 to 2015, she co-led a research project on the Anglo-American art critic Lawrence Alloway at the Getty Research Institute and was co-editor of Lawrence Alloway: Critic and Curator (Getty Publications, 2015, winner of the 2016 Historians of British Art Book Award). In 2015, she curated an exhibition at the Dia Art Foundation focusing on the American painter Robert Ryman. At Dia, she also oversaw exhibitions of works by Dan Flavin, Sam Gilliam, Blinky Palermo, Dorothea Rockburne, Keith Sonnier, and Andy Warhol. She was editor of the book Four Generations: The Joyner Giuffrida Collection of Abstract Art (Gregory R. Miller & Co., 2016), surveying an important collection of modern and contemporary work by artists of African descent. As a graduate student in 2007, Martin contributed to the Center’s exhibition and publication Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds. She received a doctorate from Yale University for her research on twentieth-century British art and is the author of essays on Rasheed Araeen, Kader Attia, Rina Banerjee, Frank Bowling, Lara Favaretto, Leslie Hewitt, Asger Jorn, Wangechi Mutu, Ed Ruscha, and Yinka Shonibare CBE (RA). Yale News April 2019 https://news.yale.edu/2019/04/10/courtney-j-martin-09-phd-named-director-ycba The Art Newspaper September 2020 https://www.theartnewspaper.com/interview/yale-center-for-british-art-embraces-a-global-framework ARTnews April 2019 https://www.artnews.com/art-news/news/yale-center-british-art-courtney-martin-director-12328/ culture type June 2019 https://www.culturetype.com/2019/06/20/courtney-j-martin-appointed-director-of-yale-center-for-british-art-an-opportunity-the-yale-alum-called-too-good-to-pass-up/ Dia Art February 2017 https://diaart.org/about/press/courtney-j-martin-to-join-dias-curatorial-department-as-deputy-director-and-chief-curator/type/text Courtney Martin image credit Angelis Apolinario

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. In the run-up to the conference The White West IV: Whose Universal? (summer 2021), the podcast invites participants of the conference to discuss the overlaps between metaphysical predicates and colonial formations. Kader Attia in conversation with Olivier Marboeuf More information: www.hkw.de/whoseuniversal www.hkw.de/en/thewhitewest

How easy is it to climb out of the working class in Britain? Have attitudes to social mobility changed at all? Matthew Sweet talks to Professor Selina Todd about her latest book, Snakes and Ladders, which explores the myths and realities of the past century. They're joined by an accents specialist, a policy thinker and journalist, and a data analyst. Professor Selina Todd is author of Snakes and Ladders: The Great British Social Mobility Myth; The People: The Rise and Fall of the Working Class 1910-2010; Tastes of Honey The Making of Shelagh Delaney and a Cultural Revolution David Goodhart is the author of Head, Hand, Heart: The Struggle for Dignity and Status in the 21st Century (2020). He is Head of Policy Exchange's Demography, Immigration, and Integration Unit; and, he is also one of the Equality and Human Rights Commission (EHRC) board commissioners. Timandra Harkness is the author of Big Data: Does Size Matter and presents Radio 4 series including Divided Nation and Future Proofing Dr Sadie Ryan is part of the Manchester Voices project https://www.manchestervoices.org/project-team/ and presents a podcast https://www.accentricity-podcast.com/ You can hear more about the Manchester project in this episode of New Thinking https://www.bbc.co.uk/programmes/p07h30hm You might also be interested in Free Thinking programmes exploring The council estate in culture with artists George Shaw and Kader Attia , drama specialist Katie Beswick and writer Dreda Say Mitchell https://www.bbc.co.uk/programmes/m0003596 City Life, estate living and lockdown with poet Caleb Femi, Katie Beswick, and urban researchers Julia King and Irit Katz https://www.bbc.co.uk/programmes/m000nvk2 Class in Britain - a review of Shelagh Delaney's play; Lindsay Johns, Douglas Murray and the former headmaster of Eton Tony Little https://www.bbc.co.uk/programmes/p02twczj Philip Dodd with Douglas Murray, author of The Madness of Crowds, the commentator David Goodhart, the writer and campaigner Beatrix Campbell, and the academic Maya Goodfellow, author of Hostile Environment - How Immigrants Became Scapegoats, reflect on the role of culture and identity in politics in Europe and post election Britain https://www.bbc.co.uk/programmes/m000cb2f Producer: Ruth Watts

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. In the run-up to the conference The White West IV: Whose Universal? (March 5 & 6, 2021), the podcast invites participants of the conference to discuss the overlaps between metaphysical predicates and colonial formations. Kader Attia in conversation with Françoise Vergès More information: www.hkw.de/whoseuniversal www.hkw.de/en/thewhitewest

Autor: Gampert, Christian Sendung: Kultur heute Hören bis: 19.01.2038 04:14

‘Remembering the Future’ at Kunsthaus Zürich is Kader Attia’s first exhibition in German-speaking Switzerland. The solo show comprises a total ...

Autor: Becker, Katrin Sendung: Fazit Hören bis: 19.01.2038 04:14

Émission spéciale pour l'anniversaire des 15 ans du Parti des Indigènes de la République ! "Le PIR est AVENIR!" Cette devise du PIR qui pouvait se comprendre comme une sombre prédiction (le pire est à venir) s'avère d'une redoutable actualité. Elle ne pouvait mieux exprimer la situation dramatique dans laquelle plusieurs milliards d'habitants de cette planète sont plongés du fait d'un virus dont l'existence et la propagation ne sont pas sans lien avec la nature de la civilisation moderne. Il y a quinze ans, un petit groupe de militants, forts de leurs héritages anticolonialistes et antiracistes, et conscients de la barbarie qui venait, lançaient l'"appel des indigènes de la république". Celui-ci allait redistribuer les cartes du militantisme politique issu de l'immigration et des quartiers. Il allait aussi ouvrir un nouveau champ théorique et stratégique autour du concept de race. Depuis, les affrontements, polémiques et controverses n'ont cessé d'émailler le débat public et de déchirer le champ politique blanc, notamment à gauche. Ces fracturations ont permis de nouvelles convergences, de recomposer le champ de la lutte et donner naissance à l'antiracisme politique, ce qui, nous le croyons, est la plus grande innovation politique depuis l'émergence du mouvement écologique. Le PIR(e) est-il arrivé ?, telle est la question qui servira de ligne directrice à cet après-midi de débat et de convivialité. Avec Houria Bouteldja, Youssef Boussoumah, Mehdi Meftah, Norman Ajari, Louisa You, Wissam Xelka, Atman Zerkaoui, Sherine Habache Soliman, Kossi Ayomide Paul et tous leurs invités : Soraya El Kahlaoui, M'baïreh Lisette, Stella Magliani-Belkacem, Françoise Vergès, Mireille Fanon-Mendès-France, Hajar Alem, Nordine Saidi, Ramón Grosfoguel, Omar Benderra, Michèle Sibony (Union Juive Française pour la Paix UJFP), Adrien Nicolas, Daniel Blondin, Ismaël Eïdos, Abdelhadi el Khouja, Ahmad Nougbo, Yessa Bel, Ugo Palheta, Alana Lentin, Yamine Makri, Safa Chebbi, Kader Attia, Simon Assoun, Saad Jouini... Marathon animé par l'infatiguable Wissam Xelka !

Kader Attia, artiste a lancé depuis deux ans le lieu LA COLONIE (barré) dans le 10ème arrondissement de Paris. Photo by Camille Millerand Kader Attia grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d'Art i Disseny in Barcelona, he spent several years in Congo and in South America. The experience of living between different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory. His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history. Following the idea of catharsis, his work aims at Art’s re-appropriation of the field of emotion that, running from ethics to aesthetics, from politics to culture, links individuals and social groups through emotional experience, and that is in danger of being seized by recent nationalist movements In 2016, Kader Attia founded La Colonie, a space in Paris to share ideas and to provide an agora for vivid discussion, that extends his praxis from representation to action. Focussing on decolonialisation not only of peoples but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims at reuniting which has been shattered, or drift apart. Kader Attia's work has been shown in group shows and biennials such as the 12th Shanghai Biennial; the 12th Gwangju Biennial; the 12th Manifesta, Palermo; the 57th Venice Biennial; dOCUMENTA(13) in Kassel; Met Breuer, New York; Kunsthalle Wien; MoMA, New York; Tate Modern, London; Centre Pompidou, Paris, or The Solomon R. Guggenheim Museum, New York - just to name a few. Notable solo exhibitions include “The Museum of Emotion”, The Hayward Gallery, London; “Scars Remind Us that Our Past is Real”, Fundacio Joan Miro in Barcelona; “Roots also grow in concrete”, MacVal in Vitry-sur-Seine; „The Field of Emotion“, The Power Plant, Toronto; Museum of Contemporary Art, Sydney; SMAK, Gent; Museum für Moderne Kunst, Frankfurt; Musée Cantonal des Beaux Arts de Lausanne; Beirut Art Center; Whitechapel Gallery, London; KW Institute for Contemporary Art, Berlin. In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed in 2017 by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul. Schizophrenic Melancholia, 2018, Exhibition view “The Museum of Emotion”, Hayward Gallery, London, UK, 2019 Courtesy of the artist and Regen Projects, Photo : Marc Domage Shifting Borders, 2018, 3-channel HD digital film on 4 screens, 16:9, colour, sound each, vintage chairs and leg prosthesis. “The Paradoxes of Modernity”, 43:19 min., “Recycling Colonialism”, 32:12 min., “Catharsis: The Living and the Dead are Looking for Their Bodies”, 48:53 min.,

In this Magazine Programme, our Editor and Presenter, Mounira Chaieb features Kader Attia a French-Algerian artist who exhibits his work for the first time in the UK; The Exhibition is called “The Museum of Emotion”. He uses sculptures, collections, videos and photographs to show case the control put by western societies and how colonialism continues to shape how Western societies represent and engage with non-Western cultures and offers a passionate critique of modern Western systems of control that define everything from traditional museology to the design of modernist social housing’. The Artists captures moments experienced in the course of a precarious and difficult existence and explores strong emotions such as joy, fear and humiliation as a way of healing rather than a source of conflict. Photo:Kadar Attia/Facebook

Bienvenue dans Un podcast, une œuvre, le podcast du centre Pompidou qui explore les œuvres à la lumière de questions de société.L'art peut-il rendre heureux ? Peut-il soigner l'artiste comme le spectateur ?La saison 5 de l'émission "Un podcast, une œuvre" explore ces questions à travers 4 œuvres et 4 artistes apportant chacun un éclairage singulier sur les rapports entre art et thérapie.Pour Kader Attia, « l’art est une psychothérapie autant pour le spectateur que pour l’artiste ». C’est un élément crucial dans le processus de reconstruction d’une mémoire collective meurtrie. Confrontant des images de gueules cassées et d’objets africains restaurés, son œuvre The Repair lie le souvenir de la guerre à celui de la colonisation et interroge la notion de réparation.Écriture et réalisation : Elsa Daynac Habillage musical : Nawel Ben Kraiem et Nassim KoutiLectures : Vincent SchmittExtraits musicaux : La Rumeur, Rocé, Gaël Faye, Laurie Anderson et Orelsan Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

e-flux journal editor Brian Kuan Wood speaks to Kader Attia, artist and founder of La Colonie, a space in Paris for sharing ideas and discussion. Focussing on decolonialisation not only of people but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims to reunite which has been shattered, or drift apart. Kader Attia (b. 1970, France), grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d’Art i Disseny in Barcelona, he spent several years in Congo and in South America. The experience with these different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals—each of them being connected to collective memory. His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature—thus also in humanity—, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history. Attia's solo exhibition The Museum of Emotion at The Hayward Gallery, London recently closed. Upcoming 2019 exhibitions include a solo show opening in September at Berkeley Art Museum and Pacific Film Archive, and group shows at Rubin Museum of Art, Louisiana Museum of Modern Art, and The Phillips Collection.

Painter George Shaw, crime writer Dreda Say Mitchell and drama expert Katie Beswick join Matthew Sweet to look at depictions of estate living - from the writing of Andrea Dunbar to SLICK on Sheffield's Park Hill estate to the images of the Tile Hill estate in Coventry where George Shaw grew up, which he creates using Humbrol enamel - the kind of paint used for Airfix kits. Plus a view of the French banlieue from artist Kader Attia. George Shaw: A Corner of a Foreign Field is at the Holburne Museum, Bath to 6th May 2019. Katie Beswick has just published Social Housing in Performance. Dreda Say Mitchell's latest book is called Spare Room. She also writes the Flesh and Blood Series set in London's gangland and the Gangland Girls series. Kader Attia: The Museum of Emotion runs at the Hayward Gallery at London's SouthBank Centre to May 6th 2019.

Well, this week I'm all bunged up, so forgive the heavy breathing throughout this #EFTV episode! BUT, you still get #UFC, #Gershwin & #HaywardGallery ramblings This week: - Trying to buy a suit - Ford vs sleepless nights - Glass can't stop Tate - UFC 234: Whittaker vs. Gastelum - Troy Miller's Gershwin Reimagined review - Diane Arbus and Kader Attia exhibition breakdowns REVIEWS & RECOMMENDATIONS - TV: Pure review AUDIBLE - Salvation Row (John Milton #6) by Mark Dawson - Lies Sleeping (Rivers of London #7) by Ben Aaronovitch - The King and I: From the London Palladium - Kernow in the City 2019 Shake it up, people! :-) *(Music) Mavis by Merciless - 1995 ----------- **The King and I** The King and I: From the London Palladium, this unmissable majestic production returns to cinemas around the UK for one night only on 4 April 2019. Trailer: here. Tickets now on sale from here. ----------- **Kernow in the City 2019** Saturday 2nd March 2019 Rich Mix 35-47 Bethnal Green Rd, London E1 6LA Headlining The Velvet Hands Support Kernow King Davey & Dyer Daisy Clark Taran Spalding-Jenkin Doors open: 19:30 More info and tickets: here. Box Office & Enquiries Tel: 020 7613 7498 e-mail: boxoffice@richmix.org.uk

In our Women + Islam feature - we examine the rise of US political figures like Ilhan Omar and Rashida Tlaib; have a discussion with women from the Arab Diaspora; we uncover the practice of Islam shrouded in mystery - Sufism; and we hear from one of the writers in a seminal new essay collection called It’s Not About the Burqa. This month, we are in conversation with actor and rapper, Paigey Cakey, from Hackney, East London. Lastly, Stance reports from La Colonie - a radical art space and haven for young artists and intellectuals in Paris looking to open up the debate and challenge France’s post-racial stance, created by artist Kader Attia. Stance is an international award-winning arts, culture and current affairs podcast.  Stancepodcast.com @stancepodcast

Discreet Violence 1: Introduction by Kader Attia, Samia Henni, Léopold Lambert by The Funambulist

A l’Hôtel de Lille, nous recevons Pascale Obolo.C’est une femme d’une cinquantaine d’années, activiste, féministe, cinéaste, plasticienne et fondatrice, ainsi que rédactrice en chef de la revue Afrikadaa. Dédiée à l’art contemporain africain, Afrikadaa a été fondée en 2012 par un collectif d’artistes, qui la considèrent comme un laboratoire et un espace curatorial. Chaque numéro donne lieu à un « acte éditorial live », défini et expliqué par notre invitée dans cet épisode. Pascale Obolo s’envisage comme activiste de la décolonisation : il s’agit de laisser l’Afrique - ses résidents actuels, mais aussi ceux dispersés dans différentes parties du globe - écrire son histoire, et son histoire de l’art, jusqu’alors essentiellement pensées en Occident.En notre compagnie, elle parle de l’importance de la culture hip-hop dans sa vie d’adolescente, de la création de l’African Art Book Fair à la Biennale de Dakar aux côtés de Kader Attia, et de la position de détachement qu’elle entretient avec le marché de l’art.Musique originale de Pablo Jacquart. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Concise? Episode 10 The Power Plant is beat up a little bit in this episode. It’s just the closest gallery to our house – sorry kids. Field of Emotion – Kader Attia http://www.thepowerplant.org/Exhibitions/2018/Winter-2018/Kader-Attia.aspx Song of the Germans –Emeka Ogboh http://www.thepowerplant.org/Exhibitions/2018/Winter-2018/The-Song-of-the-Germans.aspx Fred Wilson https://art21.org/artist/fred-wilson/ Carl Marin and Veronika Pausova – Age me a heavy twig http://www.franzkaka.com/ “Ways of Seeing” John Berger 1972 Public Opinion - Toronto Arts Stats 2016 http://www.torontoartsfoundation.org/tac/media/taf/Research/Toronto%20Arts%20Stats%202015/2016_Toronto-Arts-Stats-Booklet_public_FINAL.pdf Clint Roenisch http://clintroenisch.com/ Rebecca’s wall drawing https://www.instagram.com/p/Be25tBEnKu_/?hl=en&taken-by=rebeccacasalino Warehome 2018 https://www.facebook.com/search/top/?q=call%20for%20submissions%20warehome%202018 Maybe we saw Børns? https://www.facebook.com/events/758394427680672/ If you like this podcast and have a few dollars send it our way! Maybe we can buy a better mic, or another mic for guests! www.patreon.com/honestlyfair DM us on Instagram @honestlyfair if you feel like your practice relates to one of our episodes! Toronto artists only sorry kids - we need you to come in in person to record!

Subject? Episode 9 Caroline explores her couches as a subject and Rebecca does her Italian accent. Diane Borsato https://www.dianeborsato.net/wondering-how-long-he-can-keep-up-the-world/ajv3usi0xt2n20mkyryoue9k1zdgmo Mark Rothko http://www.tate.org.uk/art/artists/mark-rothko-1875 Gerhard Richter - painting-gasm https://www.youtube.com/watch?v=yF6EluMNR14 William Wegman - Stomach Song https://www.youtube.com/watch?v=7bOym_kkvaE Paintings of the inside of your eyes Michael Snow Wavelength https://www.youtube.com/watch?v=60P6DJLjXVU Rirkrit Tiravanija - Soup! https://www.moma.org/explore/inside_out/2012/02/03/rirkrit-tiravanija-cooking-up-an-art-experience/ Spiral Jetty - Robert Smithson https://www.google.ca/search?q=sprial+jetty&oq=sprial+jetty&aqs=chrome..69i57j0l5.2231j0j4&sourceid=chrome&ie=UTF-8 Tilted Arc - Richard Serra http://www.tate.org.uk/context-comment/articles/gallery-lost-art-richard-serra Meat Joy - Carolee Schneemann http://www.caroleeschneemann.com/meatjoy.html I got the artist wrong! The artist who clock in every hour was Teching Heish! Not Nam June Paik! And he tied himself to his partner and he couldnt be inside a building for a year! So sorry this artist is amazing. https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the-man-who-didnt-go-to-bed-for-a-year Chicken Slap - ART POLICE https://vimeo.com/187745266 Marina Abramovic https://www.moma.org/calendar/exhibitions/964 Yoko Ono http://www.a-i-u.net/cutpiece03_i.html John Berger - Ways of Seeing (book Caroline is reading) Sit and Sew - Rebecca Casalino https://www.rebeccacasalino.com/sit-and-sew/ Nan Goldin https://en.wikipedia.org/wiki/Nan_Goldin Sam Jones - Ice Cream http://www.samj.ca/icecream-and-hotdogs.html Couches - Caroline Popiel https://www.instagram.com/cpopielart/?hl=en Powerplant - Kader Attia http://www.thepowerplant.org/Exhibitions/2018/Winter-2018/Kader-Attia.aspx Bish Bish Bish - I WAS RIGHT https://canadianart.ca/reviews/how-to-stay-in-your-lane/ If you like this podcast and have a few dollars send it our way! Maybe we can buy a better mic, or another mic for guests! www.patreon.com/honestlyfair DM us on Instagram @honestlyfair if you feel like your practice relates to one of our episodes! Toronto artists only sorry kids - we need you to come in in person to record!

Dictionary of Now #5 - Kader Attia, Françoise Vergès and others - BODY November 3, 2016 8pm Lecture performance, dialogues, talk Kader Attia: Introduction In his works, the artist Kader Attia addresses the concept of “repair” as a constant in life. In the oldest and largest anatomy lecture hall at Berlin's Charité he develops a narrative about the body in three fragments for the Dictionary of Now. One hundred years ago, the bodies of disabled World War veterans became the impetus for breaking ground in aesthetic surgery. What changes are subject to aesthetic ideals and our perceptions of the body? In what contexts does the body become political? For the fifth edition of the Dictionary of Now, Kader Attia and his guests will enter the historic Friedrich Kopsch Lecture Hall at the Charité Anatomical Institute to approach the concept of the body from different directions. In an opening statement, Kader Attia introduces his reflections of loss, trauma and phantom pain on the individual level and in society as a whole. A second fragment is the German premiere of Kader Attia's award-winning film Réfléchir la Mémoire / Reflecting Memory (2016, Video HD, 45 min, original version with English subtitles, courtesy: Kader Attia and Galerie Nagel Draxler Berlin/ Köln). In his film essay, Kader Attia assembles a series of interviews with surgeons, historians, philosophers, psychoanalysts, and traumatized people on the questions of the phantom limb trauma and its psychosocial implications. In a third contribution, the political scientist Françoise Vergès analyzes transformations of the human body and points out the historical continuities of racial narratives forced onto bodies. What can we learn from colonial slavery about predatory economy and wars today? Starting from the political and economic dimensions of the black body in the context of the Transatlantic slave trade during colonialism, she analyzes the structure of the self in the “post-colonial body” and politics of reparation.

Dictionary of Now #5 - Kader Attia, Françoise Vergès and others – BODY November 3, 2016 8pm Lecture performance, dialogues, talk Lecture by Françoise Vergès In his works, the artist Kader Attia addresses the concept of “repair” as a constant in life. In the oldest and largest anatomy lecture hall at Berlin's Charité he develops a narrative about the body in three fragments for the Dictionary of Now. One hundred years ago, the bodies of disabled World War veterans became the impetus for breaking ground in aesthetic surgery. What changes are subject to aesthetic ideals and our perceptions of the body? In what contexts does the body become political? For the fifth edition of the Dictionary of Now, Kader Attia and his guests will enter the historic Friedrich Kopsch Lecture Hall at the Charité Anatomical Institute to approach the concept of the body from different directions. In an opening statement, Kader Attia introduces his reflections of loss, trauma and phantom pain on the individual level and in society as a whole. A second fragment is the German premiere of Kader Attia's award-winning film Réfléchir la Mémoire / Reflecting Memory (2016, Video HD, 45 min, original version with English subtitles, courtesy: Kader Attia and Galerie Nagel Draxler Berlin/ Köln). In his film essay, Kader Attia assembles a series of interviews with surgeons, historians, philosophers, psychoanalysts, and traumatized people on the questions of the phantom limb trauma and its psychosocial implications. In a third contribution, the political scientist Françoise Vergès analyzes transformations of the human body and points out the historical continuities of racial narratives forced onto bodies. What can we learn from colonial slavery about predatory economy and wars today? Starting from the political and economic dimensions of the black body in the context of the Transatlantic slave trade during colonialism, she analyzes the structure of the self in the “post-colonial body” and politics of reparation.

The Global Contemporary: Kunstwelten nach 1989 | Symposium 09/16/2011 - 09/19/2011 The Global Contemporary. Art Worlds After 1989 Untitled (Plastic Bags), 2008–2011 In Kader Attia’s most recent work Untitled (Plastic Bags) the plastic bag itself becomes the stuff of which dreams are made. For decades, this piece of polyethylene was left over at the end of each shopping session. Although the triumphal march of the plastic bag has meanwhile collapsed for ecological reasons, it still retains something of its erstwhile promise of being able to have everything – one simply goes to the shop next door. No less caught up with the image of the colored bag, however, are associations with those smoldering suburban conflicts of migrants; the plastic bag, especially in Germany, is also intimately connected to shopping at a Turkish supermarket, or at street vendors etc. In Untitled (Plastic Bags) Attia presented nine colored copies of this machine of (dis-) illusion, which he had collected in the Middle East, in Africa, South and North America and Europe. Before plastic became plastic it was filled with primary raw materials or basic foods: bottles of oil, rice, flour, cartons of milk etc. Once removed, the imprint of its former contents remains for a certain amount of time though begins to fade, until finally collapsing over the course of the exhibition. With a pronounced sense of irony, Attia develops his stance towards globalization and it’s all too frequently suppressed downside, to which belong the exploitation of raw materials no less than the presentation of the cultural preeminence of the West as opposed to the “other.” Only as imprint, as empty form, does, for example, rice leave traces of its identity on the global, everyday material of the plastic bag, per se, symbol of capitalist world order. (KB) /// Untitled (Plastic Bags), 2008–2011 In Kader Attias jüngster Arbeit Untitled (Plastic Bags) wird die Plastiktüte zum Stoff, aus dem die Träume sind. Am Ende jedes Einkaufs stand jahrzehntelang nahezu weltweit dieses Stück Polyethylen. Obwohl ökologische Erwägungen den Siegeszug der Plastiktüte mittlerweile beendet haben, ist und bleibt sie ein Stück des großen Versprechens, alles haben zu können – man muss nur in den Laden nebenan gehen. Im Bild der farbigen Tasche verfangen sich jedoch auch Assoziationen mit schwelenden Migrationskonflikten in den Vorstädten, ist die Plastiktüte doch insbesondere in Deutschland auch eng mit dem Einkauf im türkischen Supermarkt, an Straßenständen etc. verbunden. Attia präsentiert in Untitled (Plastic Bags) neun farbige Exemplare dieser (Des-)Illusionsmaschine, die er im Nahen Osten, in Afrika, Süd- und Nordamerika und Europa gesammelt hat. Bevor das Plastik zur Plastik wurde, war es mit primären Rohstoffen oder Grundnahrungsmitteln gefüllt: Ölflaschen, Reis, Mehl, Milchtüten etc. Wieder entfernt, bleibt der Abdruck der Inhalte für eine gewisse Zeit erhalten, verliert sich über die Zeit jedoch mehr und mehr, bis die Taschen im Verlauf der Ausstellung in sich zusammenfallen. Auf ironische Art und Weise nimmt Attia mit dieser Aktualisierung der Vergänglichkeitsmetapher Stellung zur Globalisierung und ihren allzu häufig verdrängten Kehrseiten, zu denen Rohstoffausbeutung genauso zählt wie die Vorstellung eines kulturellen Vorsprungs des Westens gegenüber seinem „Anderen“. Nur als Abdruck, als leere Form hinterlässt etwa der Reis Spuren seiner Identität im globalen Alltagsmaterial Plastiktüte, schlechthin Symbol der kapitalistischen Weltordnung. (KB)

The Global Contemporary: Kunstwelten nach 1989 | Symposium 09/16/2011 - 09/19/2011 The Global Contemporary. Art Worlds After 1989 Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art, are faced with the questions as to the extent to which the concept global can and must be thought – and how this reflects back on its own methods of working. By means of artistic approaches and documentary materials, the exhibition The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. The critical analysis of the key institutions and dispositives of the art world seeks to illustrate the manner in which globaliza tion has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions and parameters. With The Global Contemporary. Art Worlds after 1989 the ZKM | Karlsruhe, as a utopian factory and work place in the best sense of the meaning, itself plans to thematize these conditions, which also influence everyday life beyond the art world: to make the museum itself a site of contemporaneity – a place in which local experiences of time subvert the unity of the new universal time. /// Die Globalisierung als eine Phase geopolitischer Wandlung der Welt ist zugleich eine Wandlung der Kunst, ihrer Produktionsbedingungen und der Möglichkeiten ihrer Verbreitung und Präsenz. Zugleich stehen die KünstlerInnen und vor allem die Institutionen der Kunst vor der Frage, inwieweit Kunst global gedacht werden kann und muss – und wie sich dies auf ihre eigenen Arbeitsweisen niederschlägt. Die Ausstellung The Global Contemporary. Kunstwelten nach 1989 untersucht mittels künstlerischer Positionen und dokumentarischer Materialien, wie die Globalisierung mit ihren dominanten Marktmechanismen einerseits und ihren Utopien der Vernetzung und Freizügigkeit andererseits auf die unterschiedlichen Sphären der Kunstproduktion und -rezeption einwirkt. Diese Auseinandersetzung mit den maßgeblichen Institutionen und Dispositiven der Kunstwelt soll abbilden, auf welche Weise Globalisierung Kunst prägt und zugleich zum Thema künstlerischer Produktion wird, die keineswegs ohne Bewusstsein ihrer eigenen Bedingungen und Parameter erzeugt und rezipiert wird. Als eine im besten Sinne utopische Fabrik will das ZKM | Karlsruhe mit The Global Contemporary diese Bedingungen, die auch den Alltag jenseits der Kunstwelten prägen, selbst zur Diskussion stellen und aus dem Museum einen Ort des Zeitgenössischen machen, in dem lokale Zeiterfahrung die Einheit der neuen Weltzeit unterläuft.

Part 2 audio recording from the past Tate Modern symposium After Post-Colonialism with Professor Achille Mbembe and artist Kader Attia.

It’s a 13-hour flight to Dubai. Not the kind of travel to be taken lightly but worth it for the experience of Art Dubai. For visitors like me, Art Dubai represents more than the other fairs like the Armory Show or Miami Basel because the fair was the best excuse I could come up with to visit the Middle East. Like all art fairs, Art Dubai was primarily focused on sales, however, there was a consolidated effort by the fair to extend beyond the walls of the fair itself in order to become an entire art world event representing the region as a whole. Proof of this was in the number of the auxiliary programs, the many parallel events in the city that were directly supported by the fair, and the “Global Art Forum” lecture series that made the fair feel less like a sales driven event and more like an all encompassing cultural event. Art Dubai fully supported the Al Bastakiya Art Fair, the one official fringe art fair, by running a bus between the fairs and encouraging all visitors to spend time at both fairs. Art Dubai even ran programs in other cities like tours of the Sharjah Museum, or programs in Doha. The fair fully supported the START program, a Middle East based program that helps orphans, refugees and street children in the MENASA (Middle East North Africa South Asia) region, through creative development. While at the fair, I participated in one of START’s programs and helped introduce local autistic children to art-making and the fair itself. While the fair is not in charge of what any individual gallery chooses to show, there were some excellent pieces on display. Some of the highlights included El Anatsui’s “In the World But Don't Know the World” piece at London’s October Gallery booth. El Anatsui’s metal sculpture made from tens of thousands of bottle-tops that evoked sublime awe at its sheer enormity while also provoking a dialog about the cultural, social and economic histories of West Africa.By far, the most provoking and stimulating piece at Art Dubai was created by the winner of the Abraaj Capital Art Prize, Kader Attia and his curator Laurie Farrell. The Abraaj Capital Art Prize provides $1 million dollars in funding to three curator/artist pairs from MENASA to produce unique pieces for Art Dubai. Algerian born artist Kader Attia and curator Laurie Farrell produced “History of a Myth: Le Petit Dome du Rocher” which is an installation based in deep understanding of history and philosophy. In the piece, the viewer enters a darkened room to see a live camera feed projecting a sculpture of a bolt and nuts enlarged many times its size. The projection of the sculpture evokes the architecture of the Dome of the Rock and in so doing refers to Arab-Muslim history and all of the complexity of issues that surround representations of that history. The most amazing part of the installation is that it is an installation that cannot be accurately described in words, but a viewer must be in the room itself to feel the piece. Throughout the installation, there is a gentle breeze and sounds of nature that are subtly vibrating the sculpture and thus the projection as well. Kader Attia’s piece provides a peaceful space of contemplation where the viewer can mediate on the myriad of issues surrounding historical, architectural, political or aesthetic interpretations. The piece is simultaneously peaceful and provocative, troubling and soothing, pensive and visceral. Creating a piece that refuses to fit into any preconceived binary is definitely a piece that should not be missed.Next year’s Art Dubai fair should be even bigger and more comprehensive than this years and is definitely worth 13 hour flight.