Revue de presse # 11 – Semaine du 25 au 31 mars 2014


Omar Victor Diop, photographe de l’Afrique qui bouge, par Sabine Cessou, RFI, le 24 mars 2014 ;

“Souvent, la critique évoque les grands noms du portrait en Afrique de l’Ouest en parlant de son travail : Seydou Keita, Malick Sidibé, Oumar Ly. « C’est pour moi un grand honneur », souligne Omar Victor Diop, qui rappelle aussitôt l’existence de photographes anonymes ou oubliés, comme Mama Casset, illustre photographe sénégalais dont les portraits se trouvent dans bien des albums de famille, dont les siens, puisqu’il avait fait un portrait de son grand-père.”

The Woven Archive, Héla Ammar in conversation with Wafa Gabsi, Ibraaz, Platform 006, le 31 mars 2014 ;

“Effectively, in my approach family archives, my own memories, and the national archives that I chose to consult, are all interwoven. I combine the intimate with the public, the individual with the national, because they are, in my case, two sides of the same coin. I cannot separate the memories of my grandfather from the history of the country, in the same way that I cannot cut myself off from the environment in which I developed.”


Rwanda in Photographs: Death Then, Life Now, par Shahidha Bari, Times, le 27 mars 2014 ;

“At the entrance to the exhibition, the curators pose a simple question: “How do you see Rwanda?” The collection that follows is duly presented as an attempt to expand the limited register by which those outside Rwanda might have understood or preconceived of the Central-East African state.”


“And photography, as this exhibition often demonstrates, is an efficient and engaging medium by which to impart that education. (…) But in other ways, this is an exhibition that also defeats itself, intimating what is not there and the complexity of a fuller narrative that could never find any medium equal to its enormously difficult task.”

Ce soir: vernissage de la Divine Comédie. Entretien avec Simon Njami, par Syham Weigant, Diptik blog, sans date ;

“Je ne vais pas attendre que quelqu’un décide pour moi. Si on veut qu’un jour les gens arrêtent de pleurer, de voyager, il faut créer en Afrique des centres de reconnaissance, et il ne s’agit pas seulement de construire des musées… Mais plutôt des gens capables d’écrire, de voir et d’imposer un jugement. J’aimerais qu’un jour un Marocain dise que cet artiste est bon et que cela influe sur son prix chez Sotheby’s. Il faut un plan de bataille d’ensemble, et ce plan je ne le vois pas.”

The Divine Comedy, Domus, le 29 mars 2014 ;

“In his epic poem, Dante reflected on theological, philosophical and moral matters that still bear relevance for the issues facing society, politics and the economy today, but also questions of faith. The exhibition proceeds on the premise that Dante’s visions are applicable to many cultures and many religions.”


Meanwhile, in Africa…, par Christine Eyene,, le 27 mars 2014 ;

(Version anglaise de la communication de l’auteure lors de “Magiciens de la terre / Colloque 2014“)

Organising a slideshow of African photography becomes curating; disseminating on the internet information of the curation of a new biennial in a country where very few will come, but those who come see that there was more on the internet than actually happened on the ground, is also a concern.”


Johannesburg, Joburg, Jozi, par Sophie Hope (blog), le 25 mars 2014 ;

“Phrases that came up over the last couple of weeks included: uprising, revolution, liberation. Cultural action was central to the struggle, satire and humour was important as was the power of images, interpreting and capturing the everyday reality of apartheid beyond the superficial tropes. The use of the body and symbolism in theatre to avoid the censors, the role of trade unions, using art (images, theatre) as political intervention, the role of education and workshops in townships, the need to keep a record and the role of people’s media (posters, pamphlets) as a form of dissemination.”

Transition, paysages d’une société, une lecture, par Marian Nur Goni, Africultures, le 26 mars 2014 ;


Parution du #15 de la revue PRÓXIMO FUTURO de la fondation Gulbenkian, consacrée à Pieter Hugo, à l’occasion de son exposition “Este é o lugar / This Must Be the Place” ;

How one man and a hyena changed the photobook,, non daté ;

(Martin Parr and Gerry Badger explain how a personalised documentary approach revitalised photography)

“When South African photographer Pieter Hugo, who is white, photographed itinerant Nigerian entertainers in The Hyena & Other Men (2007), questions were raised about exotic voyeurism and exploiting the ‘other'” the authors observe. “Yet when it comes to the issue of identity in photography, point of view matters more than ever. Hugo was acutely aware of this question, and was scrupulous in the way he went about photographing the ‘Hyena men’, making the photographs as neutral as possible and giving his subjects a textual voice that describes their social invisibility in their own country.”

Au BAL : une sélection des dix livres de Gerry Badger et Martin Parr, par Fanny Lambert, L’Oeil de la photographie, le 28 mars 2014 ;

“Libya Jamhiriya (1981), commandé par le ministère des Affaires Culturelles de la Libya Jamhiriya, est le premier à figurer à la liste. Retenu pour son exemplarité des qualités inhérentes aux ouvrages de propagande, il ouvre un chapitre très fouillé sur l’importance du livre dans l’histoire des idéologies.”


The Best of Photojournalism 2014, par James Estrin, Lens – New York Times, le 26 mars 2014 ;

“First place for the International News Picture Story category, was awarded to Tyler Hicks of The New York Times for his photographs of a terrorist attack at a Kenyan Mall.”


– “I’m not afraid to die. I’m just afraid of how I am going to die”, par Tom Seymour, British Journal of Photography, le 25 mars 2014 ;

(Autour du projet du photographe Marco Casino qui a travaillé sur le phénomène du “staff-riding” en Afrique du sud et qui vient de remporter le premier prix du World Press Photo’s Multimedia Contest dans la catégorie “Short Feature”)

Picturing Aftermath – an interview with Anne Ackermann of the Gulu Project, par Anna Kucma, Addis Rumble, le 28 mars 2014 ;

“Working with African women who went through a conflict, it was challenging not to victimize them or look at them from my Western point of view. I see them as strong people, and that’s how I was trying to portray them. I wanted to avoid stereotypes and get away from one–sided perspectives, which would be the easiest way to go about it.”

Pascal Maître, photographe : Immortaliser le monde dans l’instant et témoigner, par Jacques Denis, Le Monde, le 28 mars 2014 ;

“Le journal m’envoyait avant tout dans les pays où il n’y avait pas de photographe : la Guinée Équatoriale, le Burundi, le Rwanda, le Zaïre… J’ai eu la chance de partir avec des journalistes africains, qui m’ont permis d’avoir une vision de l’intérieur.”


Christina de Middel – Afronauts, File Magazine, le 26 mars 2014 ;

Scarti ritrovati. Gulu real art studio, della fotografa italiana Martina Bacigalupo,, non daté ;

“Bacigalupo, che è nata a Genova nel 1978 e attualmente vive in Africa orientale, ha recuperato gli scarti delle foto realizzate da uno studio di Gulu, in Uganda, trasformandole in oggetti d’arte.”


“Le immagini raccolte da Bacigalupo, definite da gesti, vestiti e oggetti, rimandano alla tradizione africana dei ritratti in studio e allo stesso tempo creano immagini assolutamente non convenzionali.”


Appel à candidatures “The Maker: New Contemporaries”

African Artist’s Foundation is pleased to announce an open call for applications to 2014’s The Maker: New Contemporaries in Design and Photography. Entries should explore the following areas of design: furniture, product, fashion, graphic, and architecture; as well as photographs that push the boundaries of contemporary African photography. Please refer to for further details regarding the application process and The Maker: New Contemporaries. Please submit your applications by April 30th, 2014 at themaker@africanartists.

(Source : African Artists’ Foundation March Newsletter)

African finalists in the Rolex Mentor and Protégé Arts Initiative, Art South Africa, le 27 mars 2014 ;

“The finalists from Africa are Dineo Seshee Bopape (SA) and Sammy Baloji (DRC) in the Visual Arts category and Neal Hovelmeier (ZIM), Togara Muzanenhamo (ZIM) and Chinelo Okparanta (NIG/US) in the Literature category.”

Collecte-Exposition pour un Musée Collectif de Casablanca

“Collecte de documents, objets, albums, lettres, cartes, photographies de famille et souvenirs qui racontent les loisirs à Casablanca des années 50 aux années 80…”

Citer ce billet
fototaa (2014, 31 mars). Revue de presse # 11 – Semaine du 25 au 31 mars 2014. FOTOTA - Perspectives africaines en photographie. Consulté le 15 avril 2024, à l’adresse

1 réponse

  1. fotota dit :

    Un ajour tardif sur la récente Biennale de Marrakech :

    Historic Marrakech bids to become an artistic hotspot“, par Sylvia Smith, BBC News, le 30/03/14

    “Sharing their works with the people brings public-relations benefits and is perhaps, as, Simon Njami suggests, a process of cultural re-appropriation.
    “The ancient art of Africa is displayed all over the world and we cannot see it on the continent. We can blame colonisation for that.
    “But if, in a century, no actual art can be found in African museums, there will be only ourselves to blame,” he says.
    “History is in the making now. and it looks as if Marrakech is taking up the challenge.”

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