"Damascus rose on a Lebanese landscape," 2014, photograph.
Courtesy Kader Attia
Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
The Berlin-based Algerian artist treats repair as a sort of corollary of mimesis. One of the root concepts of Western cultural production, mimesis (like the more familiar "mimicry") traces its origins back to the ancient Greek term for art's imitating the natural world.Attia's A4 subdivides "Contre Nature" into four chapters that in some respects reflect the objects and images on display: "Mimesis As Resistance," "Kasbah – Beirut the Urban Condition," "Constructions, Reconstructions," and "Modernity's Debts"."Kasbah" reproduces innumerable photographs that look down on various shantytowns around the world – perhaps even the eponymous popular quarter of Algiers – as installation."Constructions, Reconstructions" deploys historical photos, sketches and photo collage.Collages include photos of (non-Caucasian, perhaps North African) men in contemporary urban attire, cutouts of transgender individuals applying makeup and samples of Hellenic statuary, with rough stitchesaffixed to the images, as if to suggest their repair.A pair of slideshows mingles headshots of mutilated First World War combatants (before and after the mimesis of "cosmetic surgery") with photos of figurative sculpture (folk and modern) and samples of traditional African flesh-scarring practices.Consulting Attia's A4 paper, though, you find the artist reads the lyrebird's practice as "repair".
The Germans too know how to laugh
The portrait in 13 movements
From celestial fruit to naked ladies
FOLLOW THIS ARTICLE