'Paradise Lost': Kader Attia and the Great Mirror of Many Worlds

The viewer is greeted by a hybrid Venus, half-digitized like Italo Calvino's Viscount, half a sensual Greco-Latin divinity of marbled whiteness, half an African anthropomorphic bust of rough, wooden roughness. 'Dogon Venus' (2024) is a statement of intent that encapsulates Kader Attia 's discourse ...