Two full-scale cast-steel pigeons, each with strips of dynamite and a Blackberry phone tied to its back, sit quietly in Adel Abdessemed’s Parisian studio. Dressed in his trademark blue pants, a black shirt and a matching jacket, the forty-nine-year-old Franco Algerian fixes his gaze on these humble city dwellers and contemplates a modern urbanity as described by Marc Augé in which the city is filled with non-places like cash dispensing machines, banks, airports, train stations, autoroutes, parking garages and lots.

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