Architecture of Memory
01.11.2017 bis 21.01.2018
The Franco-Algerian artist Kader Attia (b. 1970 in Dugny, Département Seine-St-Denis, near Paris) enjoys great international respect. Having grown up in Paris and Algiers, Kader Attia is deeply rooted and at home in cultures which were for a long time in mutual opposition. Algeria was a French colony, a status which only came to an end following the Algerian War (1954–1962), which claimed many lives. The traumas that resulted from French colonial domination and from the war itself have left their wounds and scars. Kader Attia seeks to track down the traces they have left. ‘Repair’ crops up as both as a linguistic term and at the same time as an artistic concept, one to which the artist has often felt an obligation in his works since 2012, in which history and cultural progress are understood as an endless sequence of repairs.
Since his installation ‘The Repair from Occident to Extra-Occidental Cultures’, which was shown in 2012 at the dOCUMENTA (13) and attracted great international attention, Attia devoted himself to what has been his central theme ever since. He shows the ongoing process of injury and repair as an universal human principle. In this context, the works of Kader Attia incarnate his profound researches on ethnical, philosophical and intercultural concerns. They reflect high ethical aspirations and are able to break open traditional structures and perceptions.
At the heart of the exhibition is the film ‘Réfléchir la mémoire’ (2016), for which Kader Attia received the acclaimed Marcel Duchamp Prize in 2016. In association with the artist, selected works are on display that have as their theme architecture and the memory manifested in it. The Ludwig Museum is presenting the exhibition – which at the same time reflects its dialogue with neighbouring France – in the context of its silver jubilee.
The exhibition is supplemented by loans from the Centre national des arts plastiques (Paris), the Fonds régional d’art contemporain de la région Centre-Val (Orléans) and the Galerie Nagel Draxler (Berlin/ Köln). It is substantially supported by the Peter und Irene Ludwig Stiftung.