Kader Attia, installation view (left to right): The Debt, 2013, 2-channel digital video, projection, colour, based on the original 2-channel slide presentation; The Culture of Fear: An Invention of Evil, 2013, metal shelves, antique magazines, books, metal screws; Kader Attia, Museum of Contemporary Art Australia, Sydney, 2017, courtesy the artist, Galerie Nagel Draxler, Berlin/Cologne, Lehmann Maupin, New York and Hong Kong and Galleria Continua, San Gimignano, Les Moulins, Beijing, Habana. Image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera
Kader Attia, The Culture of Fear: An Invention of Evil, 2013
Metal shelves, antique magazines, books, metal screws
Installation view, Museum of Contemporary Art Australia, Sydney, 2017
Courtesy the artist, Galerie Nagel Draxler, Berlin/Cologne and Lehmann Maupin, New York and Hong Kong.
Image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera
Kader Attia, J’Accuse, 2016, installation view, Kader Attia, Museum of Contemporary Art Australia, Sydney, 2017, teak, steel rebar, single-channel digital video, projection, colour, sound, courtesy the artist and Galerie Nagel Draxler, Berlin/Cologne, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera
Kader Attia, Asesinos! Asesinos!, 2014, installation view, Kader Attia, Museum of Contemporary Art Australia, Sydney, 2017, 129 wooden doors, 47 megaphones, Vehbi Koç Foundation Contemporary Art Collection, Istanbul, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera
Kader Attia, Ghost, 2007/2017, installation view, Kader Attia, Museum of Contemporary Art Australia, Sydney, 2017, aluminium foil, courtesy the artist and Galerie Nagel Draxler, Berlin/Cologne, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera