{"id":41161,"date":"2025-11-15T12:40:43","date_gmt":"2025-11-15T11:40:43","guid":{"rendered":"https:\/\/www.mor-charpentier.com\/?p=41161"},"modified":"2025-11-15T12:40:45","modified_gmt":"2025-11-15T11:40:45","slug":"kader-attias-la-valise-oubliee-in-sao-paolo","status":"publish","type":"post","link":"https:\/\/www.mor-charpentier.com\/es\/kader-attias-la-valise-oubliee-in-sao-paolo\/","title":{"rendered":"Kader Attia&#8217;s La valise oubli\u00e9e in Sao Paolo"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\" style=\"font-size:13px;font-style:normal;font-weight:100\">Don\u2019t miss Kader Attia\u2019s La Valise oubli\u00e9e, on view until December 15, 2025, at the 36th S\u00e3o Paulo Biennial.<br><br>French-Algerian artist Kader Attia (b1970 in Dugny, France) has long been recognized for a multidisciplinary practice rooted in decolonial thought. His research-based approach confronts the legacies of colonialism and develops the notion of \u201crepair\u201d as a way to heal objects, bodies, memories, and representations, resisting erasure while imagining new forms of care.<br><br>At this edition of the Biennial, Attia presents La Valise oubli\u00e9e,(The Forgotten Suitcase, 2024), a video installation that interweaves individual and collective histories of the Algerian War of Independence (1954\u20131962). Taking the suitcase as a potent metaphor of both the past unveiled and the future yet to be written, the work unfolds through different suitcases connected to French artist and Algerian sympathizer Jean-Jacques Lebel, feminist decolonial thinker Fran\u00e7oise Verg\u00e8s, and the artist\u2019s mother.<br><br>From a secret letter entrusted to Lebel by the Algerian National Liberation Front, to a photo album belonging to Jacques Verg\u00e8s (Fran\u00e7oise Verg\u00e8s\u2019s uncle, who defended Algerian militants), to intimate photographs of Attia\u2019s mother, these objects evoke memories that are both deeply personal and historically charged. Together, they call forth the countless unnamed men and women who resisted colonial oppression, weaving stories of family, resistance, and collective remembrance.<br><br>As in much of Attia\u2019s practice, La Valise oubli\u00e9e enacts a ghostly remembrance of colonial violence while suggesting repair through acts of memory. It is both a meditation on loss and resilience, and an invitation to re-member what has been dis-membered.<br><br>Photo credits : \u00a9 Natt Fejfar \/ Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo<\/h1>\n","protected":false},"excerpt":{"rendered":"<p>Don\u2019t miss Kader Attia\u2019s La Valise oubli\u00e9e, on view until December 15, 2025, at the 36th S\u00e3o Paulo Biennial. French-Algerian artist Kader Attia (b1970 in Dugny, France) has long been recognized for a multidisciplinary practice rooted in decolonial thought. His research-based approach confronts the legacies of colonialism and develops the notion of \u201crepair\u201d as a [&hellip;]<\/p>\n","protected":false},"author":23,"featured_media":41179,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"none","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"both","_seopress_redirections_param":"","_seopress_redirections_type":301,"_seopress_analysis_target_kw":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-41161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/posts\/41161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/comments?post=41161"}],"version-history":[{"count":1,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/posts\/41161\/revisions"}],"predecessor-version":[{"id":41182,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/posts\/41161\/revisions\/41182"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/media\/41179"}],"wp:attachment":[{"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/media?parent=41161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/categories?post=41161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mor-charpentier.com\/es\/wp-json\/wp\/v2\/tags?post=41161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}