kader attia reflects on memory at galleria continua

at its san gimignano venue, galleria continua is presenting a solo exhibition by kader attia from now through april 23, 2017. ‘reflecting memory’ seeks to explore the political, aesthetic and architectural meanings of the concept of ‘repair’ through a series of new sculptures and installations conceived especially for the gallery, as well as an exploratory documentary video work.

drawing from his mixed cultural background — with north african origins, and french culture — attia reflects on the theme of cultural re-appropriation, referencing different historic and geographical contexts. his work blends phenomena relating to various cultures within a broader panorama, allowing him to shed light on, and to interpret current issues through a new lens.

exhibition view of ‘reflecting memory’ at galleria continua, san gimignano
all images by ela bialkowska | courtesy the artist and galleria continua, san gimignano / beijing / les moulins / habana

the basis of the show is a documentary video about phantom limb syndrome titled ‘reflecting memory’, which shares its name with the exhibition at galleria continua. the film features interviews with surgeons, neurologists, psychoanalysts, and amputees about the pathology, which affects those who still feel a sensation of the presence of a limb even after it has been amputated. this perception of pain that comes from a place that actually no longer exists is an idea that is fundamental to attia’s reflection on the concept of ‘repair’.

le grand miroir du monde, 2017
mirrors | site specific dimensions

this video work acts in conversation with the entire exhibition, presented alongside a series of previously unseen sculptures. these installations continue and extend ‘the reflection about the complexity of memory, the working of memory, the duty of memory and its representation; about ‘repair’ as a form of ‘re-appropriation’, but above all as a form of resistance’, the artist describes.

eternelle promesse, 2017
metal letters | site specific dimensions

another element that recurs throughout the exhibition is the mirror. within the gallery’s 1950s cinema space, one of the central installations of the exhibition is a vast carpet of mirror fragments, which covers the stalls area and reflects the surrounding architecture of the historic interior. creating an illusion between the real and the imaginary, the result forms a sort of collective memory that seeks to prompt viewers to reflect upon the past, and our continually changing world.

eternelle promesse, 2017
metal letters | site specific dimensions