RepairReborn is the first institutional exhibition of Franco-Algerian artist Kader Attia in Colombia. This exhibition affirms Attia’s connection to both physical and mental repair. His works are globally recognized for their investigative approach to complex themes. RepairReborn reveals how Attia employs a wide range of techniques to explore his profound research on the concept of repair. Through videos, installations, sculptures, collages, and photography, the exhibition presents the artist’s various approaches to the different types of possible reparations for the traumas of modern post-colonial societies. The exhibition aims to create a dialogue around the historical collective traumas of Colombian society, addressing the concept of repair through creation and transformation.
His exhibition at MAMBO is a manifesto of his deep interests in the concepts of wounds—both physical and symbolic—and repair. Attia distances himself from the Western “myth of perfection,” which seeks to erase scars and the marks of time, instead giving them visibility and importance as symbols of resilience and the capacity to confront trauma. In his vision, the wound is not a sign of weakness but an inherent part of the repair process, highlighting the importance of recognizing damage and its traces as key elements of healing and transformation.
RepairReborn presents the wide range of artistic languages in Attia’s work, emphasizing his versatility and the depth of his research. Through his works, the exhibition illustrates how art can be a tool for repairing historical, personal, physical, and mental wounds. The healing power of art is a central feature of his work and one of the key elements that creates a safe space for dialogue. Attia explores how creative processes can contribute to the repair of both individual and collective wounds and traumas.
For the creation of On Silence (2021) in Colombia, the artist insisted that the piece be made using previously used prosthetic limbs. This choice takes on special significance in the context of Colombia’s history and the statistics that position the country as the second-most affected by landmine victims, a legacy of its internal conflict. The work thus gains a deep dimension that encompasses memory, trauma, and the inheritance of a complex past. It stands as a testament to the healing power of art and becomes an authentic manifesto of Attia’s practice, as reflected in the title of this exhibition: RepairReborn.
Learn more on the MAMBO website.