Who Owns the Trauma Blanket? Tracing Kader Attia's Ghost and the “ couverture de survie ” in Transit
Bibliographic Data
| ID | 12879487 |
|---|---|
| Authors | Megan C Macdonald (0000-0002-3139-1441, ORCID, corresponding author) |
| Year | 2018 |
| Volume | 22 |
| Issue | 2 |
| Pages | 248-258 |
| Publication date | 2018-03-15 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary French and Francophone Studies (JOURNAL) |
| Journal identifiers | ISSN: 1740-9292 • E-ISSN: 1740-9306 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17409292.2018.1475366 |
| OpenAlex | W2809279384 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
In 2016 French-Algerian artist Kader Attia filed a lawsuit against the French rappers Dosseh and Nekfeu, accusing them of plagiarizing Attia's 2007 installation piece Ghost in their music video “Putain d’époque.” Looking closely at both artists’ work, I ask: what is at stake in Attia's claims of plagiarism, especially for an artist who traffics in bricolage, memory, and, in his own words, “les blessures” of history? I argue that, with the current refugee crisis in the Mediterranean and elsewhere, the “trauma blanket” (couverture de survie) is an object that travels—and appears, without plagiarism or copyright—in both real life and artistic productions depicting Mediterranean crossings
Art · Art history · Visual arts · Historical and Contemporary Political Dynamics · Middle East and Rwanda Conflicts · North African History and Literature
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |