Come and attend to the activation of Arab Spring by Kader Attia !
Meet Kader Attia, artist, Séverine Chavrier, musician, stage director and director of the Orléans/Centre Val de Loire dramatique center and Abdelkader Damani, director of the Frac Centre-Val de Loire, to discuss the notion of "repair" as a contemporary practice of art and architecture.
Repairs is a group exhibition bringing works by Kader Attia - Arab Spring, 2014, Indépendance Tchao, 2014, and Mimesis as control, Measure and Control, 2013 – face to face with works from the Frac Centre-Val de Loire collection: Shigeru Ban, Bernd & Hilla Becher, Daniel Buren, John Hejduk, Tadashi Kawamata, Alina Slesinska & Eustachy Kossakowski, Minimaforms & Krysztof Wodiczko, Daniel Libeskind, Miguel Palma and Massinissa Selmani.
Kader Attia conducts collisions between two worlds of repair: Europe and non-western worlds. ‘Repairs, in traditional cultures, are visible measures, renewal that changes the early form of the object forever. In the modern western world, in contrast, repair is synonymous with a return to the initial state of things and the elimination of the wound.'
The exhibition kicks off with Ecosystéma by Miguel Palma and Indépendance Tchao by Kader Attia. In the first, the ecosystem proposed reveals the tensions between cycles and recycling between the environment, industry and mankind; the second work emerges as the fallen dream of 1960s separatist utopianism. At the end, Arab Spring stages the reality of art that turns into destruction.
Between these two destructions – reconstructions, islets lend order to the route. The precariousness of Tadashi Kawamata’s architecture blends into the immediate surroundings. Those by Shigeru Ban are a ‘fragile’ response to the fragility of the world. The models of Daniel Libeskind’s project reveal the potential future for a district of Berlin in a state of abandon since war damage. The Angel Catcher by John Hejduk, 1991, a monumental sculptural prosthetic system, attempts to catch the fallen angels of our dreams. The installation 1000 villages, 2015, by Massinissa Selmani is a bitter criticism of Algeria’s utopian dream in the 1970s. Photographs by Bernd & Hilla Becher observe the ruins of industrial society while photomontages by Alina Slesinska & Eustachy Kossakowski are an attempt to move away from modernist ideology. Elsewhere in the exhibition, the ‘graft’ carried out by Daniel Buren in the courtyard of the Palais Royal, in Paris, Les deux plateaux, 1986, serves as a scarification inverting and deforming the classical architecture to reveal the substructure.
The exhibition is an opportunity for visitors to engage by focusing and reflecting on the repair of the world continually highlighted by works of art and architecture.
Bernd & Hilla Becher
Alina Slesinska & Eustachy Kossakowski
Minimaforms & Krzysztof Wodiczko