Kader Attia - born in 1970. Currently lives and works in Berlin. Attia spent his childhood between France and Algeria, growing up in the cultural melting pot of the Paris neighborhood in which he lived, the Islamic Maghreb and the world of the Algerian Sephardic Jews. The multicultural vision of Attia’s work is rooted in the artist’s own personal life experience: the intercultural conflicts experienced when he was a child, like the years spent in Congo, Venezuela and Algeria, are constantly recurring features of his work. Attia’s first solo exhibition was in the Republic of Congo in 1996, and his international artistic career has been on the up ever since. He showed for the first time in Italy in 2003, as part of the 50th Venice Biennale, curated by Francesco Bonami. In 2005 he was invited to take part in the 8th Lyons Biennial; in 2007, he realized his first solo show, Momentum, in the United States, at the Institute of Contemporary Art (ICA) in Boston. This was followed by two further personal exhibitions, Square Dreams at the BALTIC Centre for Contemporary Art in Newcastle (2007), and Black & white: signs of times, at the Centro de Arte Contemporaneo di Quarte in Spain (2008). In the same year he had a residency at the IASPIS in Stockholm, Sweden. In 2009 he took part in the Paris Triennial (La Force de l’Art) and the Havana Biennial, and also curated the show Periferiks at the Centre d’Art de Neuchâtel in Switzerland. He won an award at the Cairo Biennale in 2008, the Abraaj Capital Prize in 2010 and a place in the Smithsonian Artist Research Fellowship Program. In the same year he contributed to the Sydney Biennale, the Busan Biennale in Korea and shows at the Centre Georges Pompidou in Paris, the Arab Museum of Modern Art in Doha, Qatar, the Haus der Kunst in Munich, Germany. In 2011 he showed at the 4th Moscow Biennale, the Dublin Biennial and in many other internationally prominent venues, including the Tate Modern in London, the Mori Museum in Tokyo, the Centre Pompidou in Paris, and the Sharjah Art Foundation in Sharjah. In 2012 he is showing work in the group exhibition, Hajj, Journey to the heart of Islam, at the British Museum in London. Works by Kader Attia are housed in many private and public collections, including those of the Tate Modern, the ICA of Boston, the Musée d’Art Moderne de la Ville de Paris and the Collection Centre Georges Pompidou.
To resist is to remain invisible, 2011
Kader Attia conceived this work as a gesture. It is written on the white wall with white chalk phrase “resist is to remain invisible”. Contrast this sentence particularly in the current context of spring Arabic, where resistance was out on the street for millions of people, be visible . But the real strength always begins after the madness riots and insurrections. The real strength fades and becomes daily unconscious : resist because it is not a natural act cultural … The important thing is not that this sentence is immediately obvious but we think … The presence of white writing on a white wall should suggest it happens something, but not the show. Besides the reference to “white square on a white background” Malevich , this sentence applies not only to the political context of the Arab regions. In Rather, it is a phrase that everyone must think to live humanly. To survive in love, in business, and especially intellectually. Being invisible does not mean absent, however, is to be present, but without being seen, just felt. This work, live proxy manual execution of others, keep one rule “white on white” and the ephemeral nature of this sentence (whether erasable ). Ephemeral as life , white is not it the colour of mourning in the world East of Rabat in Tokyo…? This sentence can be written in Arabic (Morocco or in another country Arabic), but also in English, French, German, Chinese, etc… it all depends on the person who wrote and especially context Geographic. I want the person who executes it appropriates in the moment she decides to do so : that is to say, to write itself.
italian version / versione italiana KLIK