Exhibition

17 April, 13.00–26 September, 19.00 2021

 

Fragments of Repair/Kader Attia

An exhibition realized in the framework of the multi-part project Fragments of Repair

  • Kader Attia, Les Entrelacs de l’Objet / The Object’s Interlacing, 2020, installation with video and objects, installation view, 2021, BAK, basis voor actuele kunst, Utrecht, photo: Tom Janssen

  • Kader Attia, Les Entrelacs de l’Objet / The Object’s Interlacing, 2020, installation with video and objects, installation view, 2021, BAK, basis voor actuele kunst, Utrecht, photo: Tom Janssen

  • Kader Attia, Reason’s Oxymorons, 2015, video installation, installation view BAK, basis voor actuele kunst, Utrecht, 2021, photo: Tom Janssen

  • Kader Attia, Reason’s Oxymorons, 2015, video installation, BAK, basis voor actuele kunst, Utrecht, 2021, photo: Tom Janssen

  • Installation view Fragments of Repair/Kader Attia, BAK, basis voor actuele kunst, Utrecht, 2021, photo: Tom Janssen

Fragments of Repair/Kader Attia, one part of the multi-part project Fragments of Repair, is the first comprehensive exhibition of Attia’s work in the Netherlands, on view at BAK, basis voor actuele kunst, Utrecht. It features a constellation of the artist’s video, collage, and sculptural works that grapple with Attia’s continued inquiry into repair as decolonial strategy

Injury, wound, and repair have been key concepts across Attia’s artistic practice, particularly in relation to the material and immaterial injustices of colonial violence that persist into the present. The works in the exhibition revolve around different themes that deal with this “legacy” of colonial violence, from architecture as a form of social and psychological control, to mental health care from a decolonial perspective, and the notion of restitution as a practice of social justice. The latter is most pointedly addressed in Attia’s multi-media installation The Object’s Interlacing (2020), which includes a video showing a variety of practitioners discussing the “restitution” of African cultural artefacts that were violently displaced into western ownership during colonial times. The video is beamed through a field populated with replicas of artefacts of non-western provenance, who cast their silhouettes onto the screen, performatively (re)claiming their own voice in the conversation.

Mental health care from a decolonial perspective is touched upon in Attia’s 18-channel installation Reason’s Oxymorons (2015), which inquires into ways of dealing with trauma and injury, bringing together various cultural practices and perspectives regarding subjectivity, the psyche, and imagination from around the world. Each of the 18 videos is installed in a separate standardized, grey office cubicle, but despite the cubicle’s (post)panoptic architecture of control and surveillance, it is simultaneously an undoing of the panopticon,

Architecture as a form of social and psychological control surfaces in several of the exhibited works, including La Tour Robespierre (2018), a drone-recorded portrait of a massive modernist housing tower in a Paris suburb, and the two combined works Following the Modern Genealogy (2012–2021) & Untitled (2021), featuring photographs and books from Attia’s archive. The latter two works together draw a genealogy of architectural modernity, showing how the utopian ideals of western modernist architecture were inspired by the vernacular building practices of France’s former colonies.

New Work by Kader Attia
Throughout the duration of Fragments of Repair, Kader Attia engages in creating a new work in the form of a gradually unfolding podcast and sound installation in twelve parts, titled Repair & Listen, commissioned and produced by BAK and realized in collaboration with Utrecht University and a number of partners in the field of higher education and medical research. Episodes are based upon one-on-one conversations between the artist and Utrecht or internationally-based academics, students, or activists from fields such as philosophy, history of science, economics, psychoanalysis, psychiatry, and social epidemiology. Drawing on transcultural epistemologies and lived experiences, the work investigates “repair” as a concrete practice to counter the psychological impact of living through a pandemic. The recorded conversations form part of an archive that is accessible both online and as part of a roaming listening-space installation to be exhibited in various academic and health care institutions across the Netherlands.

Planning your visit
Pre-booking a timeslot and ticket is no longer required from 26 June 2021, you can buy a ticket at the door. Please do check out BAK’s Covid-19 guidelines prior to your visit.

BAK’s activities are made possible through financial contributions by the Dutch Ministry of Education, Culture and Science and the Municipality of Utrecht. Fragments of Repair is organized in the framework of BAK’s research itinerary Propositions for Non-Fascist Living (2017–ongoing), and has received aditional funding from: VSBfonds, Utrecht; BankGiro Loterij Fonds, Amsterdam; BNG Cultuurfonds, The Hague; Fonds 21, Utrecht; Prins Bernhard Cultuurfonds, Utrecht; Institut français des Pays-Bas, The Hague; and Institut für Auslandsbeziehungen (ifa), Stuttgart.

BAK’s main partner in the field of education and research is HKU University of the Arts Utrecht.

In collaboration with

Made possible by

Suggestions from the archive

Exhibitionary

Screening

15 July 2021, 18.30-20.00

Fragments of Repair/Gathering VI: Invisible Bridges

A public program realized in the framework of the multi-part project Fragments of Repair

Taking place on Thursday 15 July 2021, the sixth gathering of Fragments of Repair/Gatherings, consists of a screening of artist Kader Attia’s Reason’s Oxymorons (2015) and a conversation between Kader Attia (Berlin) and Stefania Pandolfo (medical anthropologist, Berkeley, CA).

Screening

24 June 2021, 17.30-20.00

Fragments of Repair/Gathering V: The Object’s Interlacing

A public program realized in the framework of the multi-part project Fragments of Repair

Taking place on Thursday 24 June 2021, the fifth gathering of Fragments of Repair/Gatherings, consists of a screening of artist Kader Attia’s The Object’s Interlacing (2020), followed by a conversation between Souleymane Bachir Diagne (philosopher New York/Dakar) and Wayne Modest (material culture curator and researcher, Amsterdam/Rotterdam).

Education Program

21 June, 19.00–7 July, 21.00 2021

Course: Art as Politics

An Online Extension of BAK Public Studies

A new edition of the online course Art as Politics, taking place on the following dates: 21, 23, 28 and 30 June & 5 and 7 July 2021. The course, taught by BAK’s Maria Hlavajova, brings those involved and/or interested in art, theory, and social action into collective conversation.