In this exhibition, Kader Attia invites us to walk on the installation \u00abKasbah\u00bb, which replaces the floor of the exhibition space. This work is co-produced with the Centro de Arte Contemporaneo de Huarte. <\/p>\n
\u00abKasbah\u00bb thus transforms the art center into roofs evoking the slums that exist all over the world. The work is made with recycled materials, forming a composition of corrugated sheets, tires, but also parabolas scattered here and there. The facility confronts us with these residues from the flows of the globalized economy, stranded and reinvested in areas of great poverty. Beyond the political observation, Kader Attia approaches through this work the amazing ability that men have to reclaim the world when they have nothing. <\/p>\n
As often in his work, the aesthetic dimension dialogue with an ethical, political statement. More than ever, the artist physically and psychologically involves the viewer who, by surveying the rugged surface of the metal roofs, is referred to his position as a voyeur. By raising the ground by a few tens of centimeters, \u00abKasbah\u00bb also resembles a pedestal for the spectators who become, in turn, the sculptures supported by this pedestal and adopt a displaced point of view. <\/p>\n
This work reconnects with the social role that roofs and terraces play in Mediterranean cultures. Thus, Kader Attia\u2019s \u201cKasbah\u201d becomes for a few months also a platform for exchanges of ideas and varied interventions: dance, conferences, seminar, exhibition, etc. are scheduled from April to November 2009. <\/p>\n
The exhibition also presents the video \u00abOil and Sugar\u00bb, as well as a series of unpublished photographs of the city of Gharda\u00eea in the Algerian desert. These images echo an installation in semolina that reconstructs the plan of this city of the 11th century that influenced Le Corbusier in the development of the Charter of Athens, a text laying the foundations of progressive urbanism and modernist aesthetics. <\/p>\n
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