vitry-sur-seine

Kader Attia, Untitled, 2017, mirrors, plywood, steel beams, shoes, 63 × 30 × 26".

Kader Attia

Musée d'art contemporain du Val-de-Marne (MAC/VAL)

Born in 1970 to an Algerian family in a banlieue of Paris, Kader Attia has rooted his practice in the liminal, in-between spaces of postcolonial modernity. This exhibition—described by the venue as an “event-exhibition” and titled “Les racines poussent aussi dans le béton” (Roots Also Grow in Concrete)—correspondingly enfolds spectators into the vast exhibition space of the Musée d’Art Contemporain du Val-de-Marne (mac val) in a way that compels them to question their position in relation to those who establish roots in the margins of the European metropole and the postcolonial city.

Upon entering the museum, the viewer is immediately confronted with a history of French colonialism in North Africa. Collaged archival images on paper are evocatively stitched together with thread, materializing Europe’s inextricable relationship to its colonial past. One key work that is not in the

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