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This month marks a
year since the coronavirus pandemic initiated a series of global shutdowns across art organisations. The immediate effect of the pandemic was a swift shift to digital programming: exhibitions became walk-throughs; fair booths became
virtual viewing rooms; and Q&As became video chats. The amount of material made available online, as well as its uptake among the public, was overwhelming, fuelled perhaps by adrenalin and sublimated panic.
“The digital sphere has always had this sort of secondary position, and people didn’t take it as seriously as they should
- Krist Gruijthuijsen
That flurry of initial activity has subsided, but the “new normal” is still emerging. What have been the effects of a year’s worth of online programming on art organisations, artists and audiences – and specifically for the Arab world?
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Kader Attia, Curator 12th Berlin Biennale for Contemporary Art
Photo: F. Anthea Schaap.
The French-Algerian artist Kader Attia has been named curator of the upcoming Berlin Biennial, which is set to take place in 2022.
The artist’s poetic practice focuses on the concept of “repair” as a form of cultural resistance. He has also long-been dedicated to investigating the subject of colonialism as one of the hearts of his artistic practice.
In a recent video work created for the Kunsthaus Zürich,
The Object’s Interlacing, Attia addressed the deeply divisive subject of the restitution of non-Western artifacts from Western museums. Elsewhere, he has ruminated on the power of emotions as a weapon against fascism.
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