He mines history, politics, literature, religion, art, anthropology, and medicine and finds echoes everywhere: between the facial scars of World War I veterans and members of African tribes, between the emotions roused by authoritarian dictators and jazz singers, between a Congolese “sickness mask” and Edvard Munch’s “The Scream.” But there is nothing distanced or clinical about Attia’s method. Attia has a talent for verbal and visual puns, for linking seemingly disparate things and giving them new meanings. In the photograph, Snails (2009) by French artist Kader Attia, the molluscs are not a culinary delicacy served on a platter with garlic butter, but a symbol of the squalor and degradation of the Parisian suburbs. By Naomi Polonsky, 2019Ī cluster of snails are glued, like barnacles on a ship, to a disused metal post, which stands in a field of dry grass, a shabby apartment block looming in the background.
Kader Attia’s Work Holds a Mirror to the World’s Injustice.
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