LEAP43 Kader Attia .pdf


Nom original: LEAP43_Kader Attia.pdf

Ce document au format PDF 1.7 a été généré par Adobe InDesign CC 2014 (Macintosh) / Adobe PDF Library 11.0, et a été envoyé sur fichier-pdf.fr le 04/04/2017 à 16:27, depuis l'adresse IP 24.90.x.x. La présente page de téléchargement du fichier a été vue 532 fois.
Taille du document: 644 Ko (2 pages).
Confidentialité: fichier public


Aperçu du document


上 | TOP

上 | TOP

㫤∥僨粷昦艊鄡

艊證諍亱ゔ酽跣覈頺妛醭∥敘黌謾酁椨、則孭

material—for the harm suffered during

踆䯖謾跤喥桹酽䉳竑時艊䁬厸䯖跤䄄⺖悕戨

啯·䅏抲鲡艊㬕愞曧鮪藹脇醢會旝覈、雩㚾㫥

a conf lict. An Asian public might also

素材

鼶嫮艊酽俋鱖䯒悕詛艊㫥鱖彾鑫㓉䎣惤掟艊

喥曧慘閔艊撾㳝忞鮪䯤攝婠#販ゔ蔠裮¥䯖啔榚

think of the 1894-95 Sino-Japanese War,

SHOP TALK

㭠錨䯓䯖鮪㓕魖跤彽鹶鰱昅㓉㓅鍎、勢鑫桭謚

鲢銲鉢艊㦳㦷㭺糴艊醭㢹嶗鈇俢錨㝧誼Ⅹ䧸

following which the Empire of Japan

艊嗴咇䯖㫥跣㬃咗鞶艊嗴㓋裶䄄艊樮宆㯵鰓

鳏。㲅簍。讜屟岤。䇗跤鬫螄笩。丠廟鎢啯澒滿

received from China two hundred million

喥尅磢黌嬱嬟婩䄤䯖嗴咇跤俖11姫玈僑鄘䇦

訵銲鉢忞鄽糴㫓攝藹艊㦷鉢䯖⺖骼髦艊嶗彿髦

taels of silver as war reparations. The 2016

䉪襫鮪詬▕躐醢、㮰曧11跣裶苵厸䯖䆡郿朄

艊證諍鈕䙙䅔㦳艊㦷鉢、

Marcel Duchamp prize-winning work of

跣90姪艊茻㓕媣躐謚䯖㓅

卡德尔·阿提亚
我想我做鬼要胜过做人
KADER ATTIA
I THINK I AM A BETTER GHOST
THAN I AM A HUMAN BEING

粷桪鄽⺖敡鉝謾跤艊鲇窹艊脇㬅、敡㫓鳘躅

則孭啯·䅏抲鲡記啯∥㜎勢唻㫥跣踽䎪蠻

the Franco-Algerian artist, investigates

墱鄽醭嬱鍖蓜䯖脇㬅曧綾酽镾侽⺖懃憳艊趼

㢩艊釐㡽、桹酽俍酽跣桻傖㬍鑫骼酽麋蛷窹䯖

these historical watersheds in their entirety.

㒂䯖鍖呅髦㛏㛺艊狆俢徏裶鈇漲囁躐漻熱、

㮰曧酽鱖䉯爳鄬窹䯖醢䉳酦桹酽鱖熴蹺醎壔昷

Nonetheless, Attia deals with these

慘閔夃菑彿髦忞會艊儂屒瑪蠿㰊饅豸證

樴壉穻、頯梮咲宆跤酽誤䯖鮪愺扟鑨謚荱勢鑫酽

turning points of international political

諍艊鈕䙙。偖䇇壽姪。濗炓踽躏嶗蟢晜瞔酘訵

蟢㳛婠艊㝧嬕、靕㮰飨謚䯖骼羮侸蟢頯梮嫮媀

histor y f rom a more i nt imate a ngle.

崺談㭤翽醣棾艊螻宎䯖喒謾饅豸呅髦壽㬬艊

屒鍊㫥酽踽䎪䯖骼艊慘閔〔蕚藣艊闧姟〕。2013

Indeed, the artist proposes to explore the

宆絔䅄嬁、則孭啯·䅏抲鲡惤掟艊㛅㜎蓪穻灖

妘骼鮪則丠啯·媈㳚孭㳚壔銊梮䒛艊嗴㓋〔㒂

correlation between mending as considered

晹聧䃾∥㚯鳏嶎㡽陸鈵孭·梋貿桞艊翄嬁〔襲

昷唻㫨趼旝誼艊ゔ價〕。澐鮪嗴熱艊#㚶宎

at the bodily scale of an individual, and

䇏〕、蓪穻跤䯖㓅 ∥畝漛㓄勢賽働㜀。竑䈈壉

艊儂礣¥晹酽醭曧骼唻澑疦宆蔠裮艊彾楇、

that which is undertaken at the scale of a

楁則。倿昤醎㪧䇗跤鬫艊㿐㩴䯖㮰鲢鰱昷偧鞔

衂桹醭讜艊曧䯖㫥酽漛愺ゔ艊脇㬅瀷㪏䆡

group, of the social body, of a country, or

暆墱棇馾顠煫䯖綾桹㛣㛳镾侽販ゔ㚶宎、慚梋

蟴䯖妛䉯酽茩鑫磢、則孭啯·䅏抲鲡鮪㫥漛艊慘

the entire world. He renders indispensable

踆罁貿·醎啯椌昤䯖麇斊鲋跫翨蔠裮跤宆艊翽喺

閔跤畝攝鮒㫹彯鎢濕螆喺鲡俋叧蜶鄽叧魳謖豕

the act of ref lecting on the concept of

暟敤熎叧咲䯖撾踽㡑鲂#販侟䯙ゔ價¥酽㛓桖瞝

咲惛粓㿀孭梋踵熎聴宆絔攝藹鍖㛄㚧艊呺䖢、

mending/reparation itself, and thus works

牆艊㛓躏、偝㛺䯤#鮪彿荱棾䯖
!販侟䯙ゔ價"姉

骼羮魳謖艊䁬絹呺䖢慘踵氥寳嶗㓉㓌墡錨䯖暅

hand in hand with many specialists, all of

瓦朗蒂娜·乌曼斯基

㛫擄鰓鉢粷鮪駡邁敤詇跤䯤蔠裮㜄䎪。斊鑇踽

鮪壽㬬壺㝧䯖㚯㓅 鮪㓅荱㓉䎣艊酘俋㯵鰓暚

whom contribute to a research endeavor

Valentine Umansky

䎪。斊棞釆釀。旝篻跤宆訵、¥偝囁諫婠椨㡽酽

䄄廟㰊㛵飨踵㛅㜎惤掟艊鳏窹蠐鐯擊瑪䯖讜暚

in which artistic practice mingles with

跣镾㚯㛣㛳褀櫎謾跤艊謚濗炓旝篻鉢跀、羾澑

雩羾澑夎錫㫥鲢妟叅鍎扟糴墱鄽俢詛㯵鰓鐯

postcolonial theory.

詵㓄䯖則孭啯·䅏抲鲡鮪靕墰詛妘10桸昦婩媑艊

鉢艊鲇呺、慘閔鮪鏅磍鳏髦悅謭濈鈇躐鉢艊茩

Spatially, the work assumes the shape

獫瓔䒛蹁窩謖踵#濗炓鰱¥1 艊嗴㓋婩奟蔠㚮

賂艊讜暚䯖媰㜉抲熱鑫㦳鉢#販侟¥嶗赗蜶#聴

of a labyrinth, in which one penetrates and

15跫鄅梩梕䯖暀梪咇翋奟姛艊㢹躏

咲㫜羮艊曧桖踵蟔哣箏竑艊㓉㓕、骼抲熱䯖酽

As the story goes, at a certain time

∥䯖㛽醎啯椌昤棾踽慁䯖雩朄磢䎌絔彾覈、

藹¥艊宍㒄屟、僨鳏獿荎艊曧䯖桹啨斶㛳㔃醮

whose path one follows. It begins with a

濕敤啔聶㚯忲醣啔酽誆鈇訥艊馣藰哠勢跤蹺

㫅曧跣鳏艊㦷鉢#販侟¥䯖詆酽㫅曧銲鉢。蹺咲

around the end of the fifteenth century,

過嬱扜裮艊曧䯖漥爳嶗妭俋濗炓鰱尫樭

餚㛳醭讜䯖䯒赗蜶䯓#聴藹¥嶗䯒㦳鉢䯓#販侟¥

clue, whose meaning will only become clear

詛販ゔ䯖愽螻棾艊漲曧酽誆壉瓕㳟嘄鄡賛䅛

蹰靧瑪跫翨慘踵酽跣斾鉢忞䈑艊#販ゔ¥䯖澑

shogun Ashikaga Yoshimasa ordered a

啔靕墰㓉慘濈鉢䯩剴尫樭詛販ゔ轅肨艁厽艊

羮艊曧讜酽跣誤謖㛓䯒réparationⅩ㛗燍䯓䯖謾

to the visitor later on, after all the pieces

䧶諦艊#偡藰¥、㫥漛魑骼俢梐艊鄽證玪玪繳

鲈鍎躐䄄艊鎽跀過嬱獿裮、骼㚪踵唻#販侟䯙

chipped tea bowl sent back to China to

證諍䯩鮪榚蟢蠿姪醢䯖酓酽㯵墱鄽霎釀呝瀸

跤喥藥愥熴㛳、

of this jigsaw puzzle of an exhibition will

羠鑫暀梪艊#㳟釴頯梮¥䯖張啔蕚懖艊窹鬣羮

ゔ價¥氥寳艊屒鍊醭咷螻㮌䯖鲋曧謭

侸豕咲

have it repaired. The bowl was returned

have come to form a whole in one’s mind.

㳟鄡㫧

僨熱㮍㛽䯖懲頯梮攝慘嶗謚濗炓蔠裮㫧 㣮翨

to him, some time later, repaired with

This maze and its rooms become a symbol

諦慘䯖嗴婩唻㫥跣踽䎪艊蔠裮、

ugly metal staples. From this original

of our “mind mapping,” similar to the one

disappointment, the Japanese aesthetics

produced by Thomas Hirshorn and Marcus



販ゔ䯖翽賓鏍苃桪鄽蕚藣艊證諍嶗詵

镾煵橔艊鄽證、
讜樭䯖#販侟䯙ゔ價¥䯒徏樰懪醭讜㛳乵

#㚶宎艊儂礣¥躐裶䄄薟粷嫮媀喥絹酽

慘#販斾。ゔ敿。聴藹¥躐嶯䯓㫥跣氥寳雩彾踵

跣㬃咗、㓅

㫧駱㬃咗䯖磢謚㣥䆠抲蛵獿駱

of kintsugi was born. This art of joinery

Steinweg in their Map of Friendship between

㠵褀則孭啯·䅏抲鲡頯梮攝慘Ⅹ喒謾曧〔㚶

謾跤、嗴嶼駱訥酓熱鑫鄡踆䯖貶㒄訵嬜嗴㓋

aims to repair a damaged object with gold

Art and Philosophy (2007), and they feed into

宎艊儂礣〕㫥㯵慘閔Ⅹ艊踽鄡、㛫㛓嶯慇鮪

艊瀯酽鱖愺蹕賜漛鮪㓅

艊閠犦跤恓勢瀕鉝

seams, while taking into account its past,

the thought process initiated by the artist.

酽鯫徔鲅鄮澏謚唻糴咥昷忞㭺糴艊藹咥會熱

謚䯖㜢姌忴嬱飨挀朥、呰偧㬃爠艊嗴鄭呺踵鳏

its history, and the accidents that may

So this investigation starts with half

have affected it.

a loaf of matlouh, a traditional bread

艊㡚價Ⅹ謾嫮媀詵飨曧㠭壆。赗蜶徏呺窹䯖

艊#屒嶎鰱蹕¥艊䆡覯䯖雩曧頯梮咲屒鍊艊鄩

漥爳鳏堝勢謚喥∥嶎勢跏漛跫翨俋徔謚孭蹺

彾㯵鰓、㫥醮2007妘頯梮咲怐䖂昤·㡱鳘䈞峐

Similarly, artist Kader Attia weaves

of the Aurès region. It is this organic

⺖㫷會熱艊㡊㳟。㠨窹嶗㛄侕艊㡚價、 鮪鲡

掓忲屨叧咲䖂姈昤·昤鬢䋷樴攝慘艊鰱蹕#頯

into his entire oeuvre—and of course, in

sculpture that welcomes the visitor into

爳鳏㮰㳚䯖呅喥桹詵镾発牆詆酽瀇㚶宎䯖雩喥

梮醮屨叧艊傖㜐¥偧熱酽㪥、

his work Reflecting on Memory—the idea of

the space of Reflecting on Memory. The path

曧1894-1895妘艊跤暀翀遠徔鲅謚暀梪暺熎敤

㓦㜢躐晈僔鲋約媑䅏啯倀濕鲡倿驌昤嘪

reparation. This notion, which reminds

continues into the next room, of primordial

姛鞲跤蹺敒僉艊2鳗跏艀䀅徔鲅㡚價、䅏啯倀

嶼艊 酛䒪䒑䯤羴㫧#㚶宎艊儂礣¥嗴嶼䯖㫚扟

the European public of the f inancial,

importance, in which the artist filmed a

濕鲡⻈熴豜頯梮咲則孭啯·䅏抲鲡㬦㫓㫥㯵慘

㓅 艊曧酽鱖鈇俢鑫酽約艊䒪䒑桹梽䇦⿷䯥醣

material and equipment transfers that

dozen persons who all survived conflicts

閔咁㓉㫥鲢證諍㩸悈砎䯖鮪2016妘艊䖂丠啯·

酽跣嗴咇賒嗴粷鑫頯梮咲唻鴛竊跣徔鲅徏⺙

Germany was forced to comply with at

棯啹値跤酽蹁俵䙘熱、
醭㫓䯖䉳唻㫥鲢蹺䅕敤熎鲇鬣䯖㫥瀕頯梮

1

韌妟叅鍎艊㛅㜎㓉䎣、骼髦㰊夃菑濈鈇艊鐯

the end of both World Wars, implies a

鉢䯖恔糴菑偧嬁䆠

compensation—be it monetary, moral or

艊崣鐯艊悈虤、㩸㫓酽

036

or terrorist attacks; each of them has lost
《记忆的反照》,2016年,高清录像(截屏),48分钟

one or several limbs, and suffers from

Reflecting on Memory, 2016, HD video (still), 48 min
Courtesy Galleria Continua, Galerie Nagel Draxler, Lehmann Maupin, Galerie Krinzinger, and the artist © Adagp, Paris 2016

037

phantom limb pain. One happens upon

上 | TOP

上 | TOP

㫥跏跣醎姪鮪則孭啯艊攝慘跤諦鲈踵酽、

in general—may be considered

also the necessity of physical mending and

French poet Yves Bonnefoy was already

骼唻頯梮嫮媀赗豈艊怱菑䯖彾嗚鰱懲鲈鍎艊

as a mutilated body, and how

moral reparation. Strangely enough, French

describing Kader Attia:

酁諦峘勢偡侐、骼撾烢㡑鲂晹嫮笶艊。䉯窹

this wounded history could

is actually one of the only languages not to

㠮艊。桭魑鳏晹侐㦺䃺艊䙓䙙飨嫮媀、偖䇇

b e m e n de d . To a c e r t a i n

distinguish between moral compensation

And later we hear him,

壽曧䏭鮪漥爳醢裶艊桭㳛㒄艊䙓䙙䯖㫥酽砎

extent, adding a chapter to an

and physical repair, contrary to English.

Alone in his voice

㛠磢墱曧邁㛌䯖磢鍖醣酽跣䃾䎪賜磢崳鍖梥

existing story doesn’t change

These two dimensions are combined

噴䯤裮覇㛫尫樭薟粷䙓䙙䯩跏妘䯖骼羮鑫跏妘

its structure. Attia, however,

in Attia’s work, whose pertinence comes

艊暚䄄棾呝彾〔㚶宎艊儂礣〕㫥㯵慘閔䯖攝慘

focuses attention on scars. This

from his unremitting effort to reach,

熱踔哱侸樭艊 粷嫮媀、⺖惤掟艊㦷鉢嶗骼靕

might be the strength of his

within art, the right form—and from his

And holding a mirror

墰躐䄄艊㣣蟇椥䇏薶呯Ⅹ澐偧鈵賣·墴竑㜎

work—proposing an economy

will to grant a shape to what is shapeless or

Where all of the sky

倀䁬俧暚忞㔃䯖骼喥給羮䁬䉳棾鎽酁頯梮咲

of mending/reparation that

immaterial, and to the most awe-inspiring

Would pierce with great beams and recolor.

嶗䙓䙙艊諤靕㦷鉢、謾呺㫥曧䅏抲鲡夠羮艊

may render concrete the ideas

ghosts. If slavery is Europe’s prominent

All of the earth.6

忲熴䯖2014妘骼喥給羮㫓䁬䉳棾酑熱㫅䅕麉

of lack or deficiency, be it as

ghost, the question remains: how exactly

晹艊跫翨、鮪嫕魍䯖鳏髦桖壔梐虤妕軟脇。惃

perceived by Blacks, Queers,

do you go about representing a ghost?

(Translated from French to English by

詛漥爳諤俋贜窹䒛艊䅘燒閔忞恔糴㫓艊濗

homosexuals, deported people,

Two years were necessary for the artist to

Dorian Cavé)

炓跫鄅、彿髦艊頯梮咲漲儂謾㭠鍖

躐䯖骼

Senegalese Tirailleurs, or any

realize Reflecting on Memory, to create its

抲㲠鳏髦桹宍㒄墮翽夃桹鈇廧艊#販ゔ¥䯒脇

ot her traumatized bodies,

constellation of forms, and to adjust the

㬅䯓、骼謭忞桹鳏艊菋菾驀軔醭㒄唻#荱嬱㓄

haunted by the ghosts of their

distance between the filmed body and

艊藹脇¥㓉鍖醭㓄、骼㫨蟇#婠椨Ⅹ㓦椨¥艊

and our own past.

his own—a particularly difficult distance

狆㠿踽躏㭇㪝䯖愺扟乁﹖。馾馾販釴䯖㚯彿髦

At t i a somet i me s tel ls

to find, which Roland Barthes alluded to

醮靕墰㦳醢艊峟䙬拠忲㔃嶗、雲茊䎑䉯⻈銊蹺

a stor y to accou nt for h is

in his discussions of the objectif4, here

鳏贜窹䒛嶗昦㫝蹁窩嗴㓋艊靜謖曤魳艊㳟㫅

interest in these matters. A

become an intercessory mirror between

21苳箘䯖㰊鮪謭跫鳏㛏㛺煆㳛艊證諍、讜樭䯖

friend allegedly gave him a

the artist’s body and a phantom body. The

則孭啯·䅏抲鲡給錫〔㚶宎艊儂礣〕跤忞桹艊

piece of African fabric that

mirror, a recurrent apparatus of Attia’s,

was mended with gingham;

calls to mind the one he used in 2014 to

t he a r t i st t hu s st a r te d to

draw a world with improbable outlines.

ref lect upon this patching,

Going against contemporary practices,

Shoah: we rediscover within it the railroads

as the symbol of a reconstruction he has

which seek to erase scalpel marks and the

of t he camps of Chelmno, Treblinka

been considering ever since, in a protean

centuries of colonization endured by the

and Auschwitz-Birkenau—they, too, are

way—be it through his gueules cassées ,

objects exhibited nowadays in European

of his video—an apparatus that serves as

overrun with weeds, and repaired/atoned

his exhibition “The Repair from Occident

museums, the artist draws attention to

a trompe l’œil, teasing the viewer from a

for by words. Françoise Vergès, a political

to Extra-Occidental Cultures” presented

the necessity of imperfect sutures. He
proclaims in full view of everyone that the
Visible should not be ignored. Distancing

㓉䎣蹕絹。䇦⿷。彾閔嶗㛣㛳䯖婠㡽酽姫謭
⺖搱⺲貾藣艊糴咥鍎靪斲艊䆆亊䯖雩婠㡽酽

《记忆的反照》,2016年,高清录像(截屏),48分钟
Reflecting on Memory, 2016, HD video (still), 48 min
Courtesy Galleria Continua, Galerie Nagel Draxler, Lehmann Maupin, Galerie Krinzinger, and the artist © Adagp, Paris 2016

姫鈕鍋艊㝧嬕、
雩㚾䯖嫕熴蹺㛝鳏黥俓·贜鄐哱罁暆鮪2001
妘釀醣㫥䒫㛝暚䯖骼妛醭蓜㭠靕墰釀艊喥曧則
孭啯·䅏抲鲡䯤

謚棾鳏髦堝勢骼

other clues, after a ninety-degree turn,
such as the mirror pierced with an ovoid
opening that the artist used in the making

3

骼叞箏鰱㡶鮪靕墰艊佪䌄㳚

corner of the room. Suddenly, one emerges

expert from Réunion and Professor at the

at the 2013 Fridericianum in Kassel, or

鏖慚㡪㦳⻭鉢

into the final room of the exhibition, at the

Collège d’études mondiales, has called

today in Reflecting on Memory.

㡶謭犦瓡

5

himself from the consumerist logic of

heart of the snail-shell structure, in which

for a more flexible understanding of the

This time, however, the repair is

eleven papier mâché sculptures stand on

idea of reparation: “To me, reparations

more subdued, and doesn’t appear at first

construction-destruction, he mends and
patches things up, fills in the gaps, and

忲怱暺䁬

their pedestals: empty boxes bearing the

should rather come in the shape of public

glance. Attia re-enacts in this work the

曑熱斾穻俍裶

imprints of disappeared objects, things of

policy: research and education programs,

trauma therapy experiment proposed by

by so doing he reconciles us with our own

俍裶艊媰俋賂棴∥鮪斾穻俋鰱醢

which nothing but traces remains to us,

textbooks, or documentation centers.”

the neurologist Vilayur Ramachandran at

demons. Therefore, through the array

褀爗䯖ゔ頥、2

and which also call to mind ideas of lack

She therefore suggests we investigate the

the University of California in San Diego.

of video images, sculptures, objects and

structuration of a postcolonial body in

This well-known procedure, which relies

words that make up Reflecting on Memory,

which words would circulate. Little wonder

on a mirror, is used as a conceptual and

the artist builds a mausoleum in honor of

to which the work invites the viewer,

she was the speaker invited by Attia to hold

visual tool meant to trap the viewer—who

broken people, as the symbol of a debt

the subject matter deals with the ghosts

the inaugural symposium taking place in

thinks, during most of the video, that its

that the Washington Museum of African

of history, such as memories of slavery,

his café, which opened last October and

subjects are unhurt—as well as to help these

American History or the infamous Tuol

colonialism and genocide, and especially

is called La colonie.2

survivors to accept the loss of their limb.

Sleng prison have been bringing to the
fore lately within their precincts.

or absence.
錼㛗䯒熴錼跤䯓䯤钘緟

Throughout this reflective journey

1. 展览名称本身带有中划线。

with the psychological traces thereof. Attia’s

What is at stake is the question of

What this apparatus highlights is both the

《弯曲的船板》,2001年。
2. 伊夫·博纳富瓦,

video reminds one of Claude Lanzmann’s

how Europe—and colonizing territories

issue of how to look at a mutilated body, but

038

In 2001, perhaps unknowingly, the

039

As if going about naked
On a beach

1. Translator’s note: the French
word réparation refers both to the
action of repairing an object, and
to making amends for a wrong one
has done.
2. Stylized with strikethrough
formatting
3. Translator’s note: images of war
veterans with severe facial injuries.
4. Roland Barthes, La Chambre
claire, 1980 (translated as Camera
Lucida, New York: Hill and Wang,
1981).
5. Attia, Chaos + Repair = Universe,
2014.
6. Yves Bonnefoy, Les Planches
courbes, 2001 (translated as The
Curved Planks, New York: Farrar,
Straus and Giroux, 2007).

P36
《记忆的反照》,
“2016年马塞尔·杜尚
奖”展览现场,蓬皮杜艺术中心
Reflecting on Memory on view at
“Prix Marcel Duchamp 2016,” Centre
Pompidou
PHOTO: Georges Meguerditchian


Aperçu du document LEAP43_Kader Attia.pdf - page 1/2

Aperçu du document LEAP43_Kader Attia.pdf - page 2/2




Télécharger le fichier (PDF)


LEAP43_Kader Attia.pdf (PDF, 644 Ko)

Télécharger
Formats alternatifs: ZIP Texte



Documents similaires


leap43 kader attia
scarsofcambodia presskit en 1
scarsofcambodia presskit en
cfp jeanmonnetnetwork
en   history of language teaching and theorization 1945 2015
avantprogramme def 2017

Sur le même sujet..




🚀  Page générée en 0.009s