Revue de presse # 15 – mai 2014

La revue de presse revient et reprend désormais à une cadence mensuelle (22/04 – 21/05/14) !

Ces dernières semaines, de nombreuses publications reviennent sur les événements historiques qui se sont déroulés il y a vingt ans en Afrique du Sud et au Rwanda, en les reliant aux enjeux auxquels ces deux pays font face aujourd’hui.


Twenty Years After Apartheid, par Joao Silva, Lens – The New York Times, le 29 avril 2014 ;

(Le 24 avril 2014, la chaîne de télévision franco-allemande Arte diffusait  le documentaire “Photographes contre l’apartheid. Le Bang Bang Club” de Marc Wiese, Allemagne, 2013 :

In pictures: Remembering the 1994 elections, Mail & Guardian, sans date ;

Pictures of the Day: South Africa and Elsewhere, Lens – The New York Times, le 7 mai 2014 ;

– Les publications du blog “Rise and Fall of Apartheid…”  du 26 avril, 28 avril, 1er mai et 2 mai 2014 ;

Sans titre, DynamicAfrica, le 27 avril 2014 ;

“(…) photographer Thina Zibi captured the words and faces of everyday citizens asking them what 20 years of freedom meant to them.”

The Mandela’s Legacy, par Krisanne Johnson, Courrier international ;


Rwanda and the NY Times: On those images by Pieter Hugo pairing perpetrators and victims of the 1994 Genocide, par Suchitra Vijayan, Africa is a Country, le 25 avril 2014 ;

Retour critique sur le projet du photographe Pieter Hugo, publié le 6 avril dernier dans le New York Times (et archivé dans la RdP # 12)


Photographer George Hallett Captures the ‘Dignity’ of Apartheid, par Lindsay Johns, The Root, le 26 avril 2014 ;

Sans titre (autour du travail de Sammy Baloji sur l’activité minière à Kolwezi, “Mémoire Kolwezi”), The Zam, le 29 avril 2014 ;

Life in Lagos, as Shown in Teju Cole’s ‘Every Day Is for the Thief’, par Chelsea Matiash, The Wall Street Journal, le 30 avril 2014 ;

“I’m often asked about how a photograph can be part of a work of fiction. For me, the fiction happens in the placement, in the way a photograph taken under one set of conditions is made to suggest another. A photo becomes fictional on the basis of the text beside it, or the photos that precede or follow it,” Mr. Cole said. “My photos for ‘Every Day Is for the Thief’ narrate an imagined Lagos, much like the text in which they are interspersed.”

Nandipha Mntambo: Creating mirror images of the human body, Design, le 1er mai 2014 ;

Zanele Muholi: When do we start talking about intimacy?, Design, le 9 mai 2014 ;

The Changing of Ethiopia, in Photos, par David Gonzalez, Lens – The New York Times, le 12 mai 2014 ;

“Everybody now has their own kitchen, bathroom and living room,” he said. “But in the old neighborhood they shared everything. This creates another dynamic between people. The new buildings are for people who can afford them in the downtown area. The people who cannot, go to the new areas. And all these details will be lost when they go to the outskirts of the city.” (Michael Tsegaye autour de son travail Future Memories consacré aux transformations architecturales et sociétales de la ville Addis-Abeba).

In the shadows of Roger Ballen’s mind, par Paul Botes, Mail & Guardian, le 16 mai 2014 ;


Un atelier sur la préservation du patrimoine photographique africain, par Vitali Boton, Adjinakou, le 22 avril 2014 ;

(Autour de l’atelier 3PA du “West African Image Lab” organisé par Resolution à Porto-Novo, dont nous avons traité ici et )

“One way to reignite this collective memory”, interview avec Ibrahima Thiam, Contemporary And, sans date ;


Tyler Hicks Tells The Story Behind His Pulitzer-Winning Nairobi Mall Photos, NPR, le 24 avril 2014 ;

Richard Mosse wins Deutsche Börse Photography Prize 2014, par Gemma Padley, The British Journal of Photography, le 12 mai 2014 ;

“Of Mosse’s win, Brett Rogers, director of The Photographers’ Gallery and non-voting jury chair said: ”The jury praised the manner in which Mosse combined form and content to draw attention to a conflict, which despite costing the lives of millions of people, has largely gone unnoticed by the West. While building upon traditional forms of documentary, the resulting hyper-real images and multichannel films open up new possibilities for story-telling and engagement with the subject of contemporary conflict.””

Hassan Hajjaj Wins 2014 PULSE Prize, Contemporary And, le 13 mai 2014 ;

PDN photo annual 2014 ;

Le projet de Marco Casino “Staff Riding” a reçu le prix PDN Photo Annual Award 2014 dans la catégorie vidéo.


Cotonou : Samuel Fosso à la Fondation Zinsou, par Jeanne Mercier, L’Oeil de la photographie, le 25 avril 2014 ;

Apartheid & After: “new” South Africa for whom?, This is Africa, le 28 avril 2014 ;

Mogadishu – Lost Moderns, par Rashiid Ali, Warya Post, le 5 mai 2014 ;

“The images shown and collated in a special catalogue offer a unique account of what remains of the city’s urban fabric and key modernist symbols after two decades of civil conflict. It is a space for reflection on the value of civic architecture and heritage preservation. It also presents a unique perspective of a city in conflict, and an opportunity to promote new thinking on the broader discourse of redevelopment in the country.”

Rotimi Fani-Kayode’s visions of ecstasy, par Brent Meersman, Mail & Guardian, le 2 mai 2014 ;

“The exhibition in Cape Town could not be more timely as political leaders elsewhere in Africa – who are patently failing their people – desperately shore up support for their corrupt regimes by stirring up moral hysteria and enacting laws to legalise the persecution of Africa’s homosexuals, including in the late artist’s home country of Nigeria.
If black politicians and leaders in South Africa won’t stand up and say anything, then let the writers and artists speak, even the dead ones.”


Musée Niépce-Conférence du photographe Claude Iverné, par Pascale et Patrice Josserand, le 17 avril 2014 ;

Signalons par ailleurs ici le projet de sauvegarde du travail cinématographique de Gadalla Gubara, que ce compte-rendu cite entre autres photographes soudanais :

“For the second time now, Arsenal – Institute for Film and Video Art has been able to use funding from the German Foreign Office to realize a project aimed at preserving film holdings: the body of film work of Sudanese filmmaker Gadalla Gubara (1920–2008). Gadalla Gubara worked for over 50 years as a director of both features and documentaries. Until his death, he ran the first private film studio in Khartoum: Studio Gad. In light of both a lack of technical and financial resources and precarious storage conditions, advanced levels of material decay were threatening the very existence of this cinematic legacy. With funding from the German Foreign Office’s Cultural Heritage Program, the films were able to be digitized in Berlin in Autumn 2013. The archival holdings of the National Film Institute in Guinea-Bissau (INCA – Instituto Nacional de Cinema e Audiovisual) have already been digitized in 2012 as part of the “Animated Archive” project.”

(Source : Newsletter de “Arsenal – Institute for Film and Video Art” du 23 avril 2014)


“Un peuple qui fut d’Afrique, mais maintenant chez lui en Inde” A Certain Grace, The Sidi : Indians of African descent. Entretien de Hélène Ferrarini avec Ketaki Seth, Africultures, le 24 avril 2014 ;

It’s not about Africa. Interview de Lara Bourdin avec Emmanuel Iduma et Emeka Okereke, The Zam, le 29 avril 2014 ;

(Au sujet du projet Invisible Borders, dont une autre publication s’occupe également ce mois-ci : Notes on Everyday Africa, par Emmanuel Iduma, Esopus Magazine, printemps 2014)

Everyday Arab life, The National, le 27 avril 2014 ;

Un nouveau projet dédié au Moyen-Orient et l’Afrique du Nord, modelé sur l’exemple d’Everyday Africa :

“(Lindsay Mackenzie) I worked for two years in Tunisia, for example, and the only photos that US media outlets were interested in publishing were photos of Salafis protesting or women wearing niqabs. If you are a reader in the US and those are the only photos you see from Tunisia, you are going to have a distorted image of daily life there. This is not to say that we shouldn’t document those subjects, but that we shouldn’t document those subjects exclusively.”


Somaliland’s Long Game, par Amber Terranova, Photo Booth – The New Yorker, le 23 avril 2014 ;

“Since 2008, Narayan Mahon has been taking photographs in the unrecognized states of Somaliland (a region of Somalia), Nagorno-Karabakh (a region of Azerbaijan), Transnistria (a region of Moldova), Northern Cyprus (a region of Cyprus), and Abkhazia (a region of Georgia), for a series called “Lands in Limbo.” Mahon, who is based in Madison, Wisconsin, is interested in what happens to these regions after they declare independence and their citizens, who often live in poverty, must redefine their cultural identity.”

Exquisite Portraits of African Farmers, par Doug Bierend, Wired, le 28 avril 2014 ;

“While the results are visually striking and beautiful, it violates standard rules of portraiture. In many cases the subject’s face isn’t visible, and often the human form itself is difficult to make out. (…)
« The daily grind where movements must be repeated thousands and thousands of times over. It creates a deep familiarity with the tools and materials they are working with–earth, landscapes, plants, plastics. »”

Question du portrait “sans visage” qui a resurgi dans le travail de Martina Bacigalupo sur “Gulu Art Studio Art”, dont une interview, “Sortir du cadre“, est publiée dans le dernier numéro de la revue Afrikadaa n. 7 , “Corps medium”, mai / juin / juillet 2014, pp. 94-99 ;

Fascinating Portraits of Door-to-Door Salesmen In a Nairobi Slum, par Jenna Garrett, Feature Shoot, le 30 avril 2014 ;

Dramatic Stories of Immigration Told Through Objects Left Behind, par Jakob Schiller, Wired, le 5 avril 2014 ;

CONDEMNED: Interview by World Press, le 8 mai 2014 ;

(Robin Hammond speaks to World Press Photo about his award winning project CONDEMNED)

The Real Story About the Wrong Photos in #BringBackOurGirls, par James Estrin, Lens – The New York Times, le 8 mai 2014 ;

Ami Vitale: “(…) I realized the way Africa is generally portrayed in mainstream media is either wars, famine or stories like this terrible abduction. You see the horrors or the other extreme, beautiful safaris and exotic animals. There’s nothing in between.
So it’s ironic the story I was telling was that there is a beautiful world that lies between these two truths. Why don’t we ever tell these stories that show the dignity and resilience of these people?
And this is why I feel so enraged, because I was trying to not show them as victims. They are not victims. Using these images and portraying them as victims is not truthful. The story I did was a hopeful story.”

Encore au sujet des photos réalisées par Ami Vitale en Guinée-Bissau, n’ayant aucun lien avec l’enlèvement de plus de deux cent filles au Nigeria par le groupe Boko Haram, utilisées sans permission dans la campagne #BringBackOurGirls :

Tears for fears, par John Macpherson, Duckrabbit blog, le 11 mai 2014 ;

“Of course, and as Vitale herself notes, were we to utilize an image of a ‘first world’ white person in a similar (careless) way there is a very good chance there would be repercussions, of the legal sort. (To be fair some of these uses illustrated here may be ‘legitimate’ in so far as they’ve sought the appropriate permissions from the author or her representatives.)
But for the rest, because this is some anonymous black girl, it seems it’s just ‘hey who cares’.
Well it might be fair to say the subject probably cares. And so do her family. She has a name. She has siblings. She has a mother who cares deeply. It seems the only people who don’t care, are we image users.
There’s a curious irony in the fact that 270 schoolgirls are kidnapped, and……well nothing really happens. Until a photograph of someone unrelated to the incident is (mis)used to spearhead a campaign to find them – and the featured individual is from…well….the wrong country, and is the wrong ethnicity – but suddenly people sit up and take notice.”

The reason every book about Africa has the same cover—and it’s not pretty, par Michael Silverberg, Quartz, le 12 mai 2014 ;

“In short,” the post said, “the covers of most novels ‘about Africa’ seem to have been designed by someone whose principal idea of the continent comes from The Lion King.”

La petite fille sur la photo, par Marco Longari, blog AFP, le 15 mai 2014 ;

Last Kings of Africa, African Digital Art, le 20 mai 2014 ;

Documenting Child Sexual Abuse in South Africa, par David Rosenberg, Behold – Slate, le 13 mai 2014 ;


Off the Wall #3

(“Afrique: regards vers et depuis, jeunes talents et images anciennes”)


On ne compte plus les concours photo lancés par des organisations internationales (un sujet sur lequel nous voudrions revenir prochainement) : celui organisé par le FMI – The 2014 IMF Africa Rising Youth Photo Contest – et qui va de pair avec la conférence qui se tiendra à Maputo les 29 et 30 mai prochains, a été clos le 2 mai dernier.

Ouverture de l’appel à candidatures pour le POPCAP ’14  (jusqu’au 1er juillet 2014) – “un prix pour la photographie africaine contemporaine qui est décerné aux portfolios photographiques qui sont produits dans un pays africain, ou qui traitent avec une diaspora d’un pays africain”.

Une série de rencontres autour de l’archive et des pratiques artistiques s’y rapportant a débuté à “L’appartement 22” à Rabat.

Se prépare actuellement une vente aux enchères en ligne consacrée à la photographie africaine contemporaine organisée par la “Auction room” de Londres le 28 mai 2014 et introduite au public londonien par une exposition d’oeuvres choisies (du 14 au 28 mai 2014) :

This is my Africa: How continent’s young photographers have reclaimed lens from the west, par Peter Popham, The Independent, le 12 mai 2014 ;

Le catalogue – qui comprend des tirages de Malick Sidibé, Jean Depara, J.D. Ojeikere, Jürgen Schadeberg, Ade Adekola, Gideon Mendel, Charles Okereke, Patrick Willocq, Jumoke Sanwo, Zwelethu Mthethwa, Serge Attukwei Clottey, George Osodi, Adolphus Opara, Chriss Aghana Nwobu, Daniele Tamagni, Mario Macilau, Cyrus Kabiru, Justin Dingwall, Lakin Ogunbanwo, Uche Okpa-Iroha, Karl Ohiri, Namsa Leuba, Uche James-Iroha – est en ligne ici.

Les artistes sélectionnés pour participer à la Biennale de Kampala viennent d’être annoncés. Parmi eux, Harandane Dicko, Olusola Otori du Silent Majority Project…

Citer ce billet
fototaa (2014, 22 mai). Revue de presse # 15 – mai 2014. FOTOTA - Perspectives africaines en photographie. Consulté le 14 juin 2024, à l’adresse

Laisser un commentaire

Votre adresse e-mail ne sera pas publiée. Les champs obligatoires sont indiqués avec *

Ce site utilise Akismet pour réduire les indésirables. En savoir plus sur comment les données de vos commentaires sont utilisées.

Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search