Revue de presse # 19 – Octobre 2014

Le mois d’octobre a été marqué par la nouvelle tragique du décès du photographe Thabiso Segkala à Johannesburg, dont un bel entretien avait été publié cet été sur le site Another Africa : Berlin to Bulawayo: In Conversation with South African artist Thabiso Sekgala (par Brendan Wattenberg, le 4/08/14). Nous recueillons ci-dessous les articles parus dans la presse à la suite de sa disparition.

Photographer Thabiso Sekgala 1981-2014, Artthrob, le 20/10/14 ;

Thabiso Sekgala: Suicide stills another rising star, par Sean O’Toole, Mail & Guardian, le 24/10/14 ;

Thabiso Sekgala – The Runaway, par Musa Nxumalo, The Con, le 23/10/14 ;

The Photographs of Thabiso Sekgala, par Neelika Jayawardane, Africa is a Country, le 21/10/14 ;

How was it that Thabiso’s camera knew more about what “unheimliche” meant in ways that that no words of theory could ever capture about being out-of-place in South Africa?


Interview with Egyptian artist Youssef Nabil, sans date ;

On War Porn, par Cedric Nunn, blog de l’auteur, le 30/10/14 ;

“(…) if the often stated intent of war photography was to bring public attention to this dastardly deed, and end our appetite for it, why has it had so little success?

(A propos du travail de Cedric Nunn “Unsettled: 100 years of war”, écouter également l’enregistrement  de la rencontre avec le photographe dans le cadre de “The National Arts Festival” 2014 à Grahamstown) ;

Gideon Mendel – a photographic giant, par Robyn Sassen, South African Jewish Report, le 29/10/14 ;

In pictures: A male feminist’s view on African women, entretien de Vera Kwakofi avec Nana Kofi Acquah, BBC News Africa, le 28/10/14 ;

(Nana Kofi Acquah que l’on peut entendre également dans le reportage de Saskia De Melker Photographers use Instagram to paint more complete picture of life in Africa, PBS, le 4/10/14) ;

With Power and Powers, James-Iroha’s lens focuses on elusive electricity in Nigeria, par Tajudeen Sowole, African Arts with Tajudeen Sowole (blog), le 26/10/14 ;

3 questions à… Désirey Minkoh pour «un autre visage de la photographie au Gabon», Gabon Review, le 24/10/14 ;

Addis Ababa’s changing landscape – interactive gallery, The Guardian, 22/10/14 ;

(Photographies contemporaines de Michael Tsegaye)

Discordia: The Arab Spring, par Whitney Johnson, The New Yorker, le 15/10/14 ;

Through the lens of Senegalese Photographer, Omar Victor Diop, par Alexander Aplerku, Afropunk, le 14/10/14 ;

Beautiful Accidents. Interview with Nii Obodai, Part One, by Seton Nicholas, Nkenten, sans date ;

It’s really a question of “How am I connected to all humanity?” And there are light and dark sides to that. I can choose to represent myself from any point of that perspective. In terms of representation, in terms of documentation, of photography as my chosen art form, in terms of the research and exploration that I do on a consciousness level. I do not like to limit myself with labels. I’m more open to the questions… “Where are going? Where are we coming from? How are we going to transcend these issues we call dark and expose more light?”

A love letter to Nigeria’: The master photographer who captured nation’s life, par Lauren Said-Moorhouse, CNN, le 13/10/14 ;

10 Nigerian Photographers You Should Know, par Yosola Olorunshola, The Culture Trip, sans date ;

Scott Typaldos in conversation with Léonard Pongo, Gomma, le 7/10/14 ;

Founders of Everyday Feeds Launch @EverydayEverywhere, “Family of Man for the Modern Age”, par Holly Hughes, PDN photo district news, le 7/10/14 ;

“The central feed will share a common mission: To disseminate images that promote greater understanding of the world. “We hope that when you put this body of work together, it’s a ‘Family of Man’ in the modern age,” DiCampo says, referring to the ambitious 1955 exhibition which featured 273 photographers, “celebrating commonalities, and fighting stereotypes in each region.””


Bouffée d’oxygène aux Rencontres d’Arles, par Véra Léon, Arip – Association de recherche sur l’image photographique, le 31/10/14 ;

(Autour de l’exposition Bons baisers des colonies de Safia Belmenouar)

Black Chronicles II:  Multidimensional Narratives, par Hansi Momodu-Gordon, Contemporary And, sans date ;

Striking photos reveal hidden history of black Britons in the Victorian era, par Monique Todd, CNN, le 6/10/14 ;

(Autour de l’exposition Black Chronicles II actuellement présentée à Londres, chez Autograph ABP)

Milano, Africa. Ecco le immagini della grande mostre della Triennale sull’architettura del Continente nero: fra possibilità e complessità, par Flavia Chiavaroli, Art Tribune, le 16/10/14 ;

(Autour de l’exposition “Africa Big Change Big Chance” dans le cadre de la “Triennale di Milano”, sous le commissariat de Benno Albrecht)

“Would You Please Keep Looking, Please?”: Samuel Fosso at the Walther Collection, par Sabrina Mandanici, Artcritical, le 4/10/14 ;

“Fosso’s self-portraits are images that oscillate between documents and appropriations, imagination and performance, challenging Western, as well as Eastern iconographies and modes of creating identities.”

ART: Looking at Africa, par Matthew Partridge, Financial Mail, 2/10/14 ;

“THE scramble for Africa has found a new, and somewhat unlikely, location: the art gallery. As the world has focused its attention firmly on contemporary art from the continent, local SA galleries have risen to meet this new market’s expectations by expanding their represented artists beyond the borders of SA.”

David Goldblatt. Structures of Dominion and Democracy, par François Salmeron, Paris Art, sans date ;

(Autour de l’exposition en cours à la galerie Marian Goodman à Paris, 3e)


Couverture internationale pour le LagosPhoto Festival dont la cinquième édition a ouvert “ses portes” le 25 octobre dernier :

Lagos Fotofestival: Wat haat met Nigeria deed, De Morgen, sans date ;

L’Africa attraverso i suoi fotografi: ecco il LagosPhoto Festival, Il Corriere della sera, sans date ;

LagosPhoto festival 2014 – in pictures, The Guardian, le 28/10/14 ;

A Festival of Ideas and Photos in Africa, par David Gonzales, Lens – The New York Times, le 27/10/14 ;

LagosPhoto Festival, Entretien de Maria Pia Bernardoni avec Azu Nwagbogu,, le 16/10/14 ;

“Now the goals have shifted, the main interest is to create an intervention, to induce and steer change. So we’ve moved from wanting to show works inspiring a different image and awareness of the continent to projects with a greater imaginative power. (…) The moment you accept honestly this combination of photography and staged reality, you can create a work that is much more profound and accurate with regard to the message you intend to convey. This is the area we are now exploring, that of performative photography, staging of reality.

Ainsi que A Truth Beyond Photojournalism: Cristina de Middel’s Nigerian Journey, par Olivier Laurent, Time LightBox, le 7/10/14 ;

“In the meantime, the former photojournalist has no regrets about leaving the world of news behind. “In fact, I wish I’d done The Afronauts ten years ago,” she says. “Now I feel like I’m really documenting places. I feel like I’m finally understanding the stories I’m documenting. The way I approach these subjects is much deeper, and I feel that, as a result, my ideas are much more truthful then when I was a photojournalist. They are less superficial. They are deeper. I’m sure there are a lot of photojournalists who can understand and can explain a situation in their images, but I wasn’t one of them.””

(Série conçue à la suite d’une collaboration entamée avec le LagosPhoto Festival en 2013)

African Taxi Art: Bringing Art to the Streets, Art South Africa, le 29/10/14 ;

“Employing taxi wraps as a method of display literally and figuratively drives engagement with local art, realising the most utilised form of public transport as a platform to bring artwork into the public sphere. (…)

This ongoing mobile exhibition project is an exploration of alternative approaches to the display and presentation of photographic art works, providing an opportunity for a continual interaction and engagement between the community, the sites where the narrative originates and the body of work itself.”

(A propos du Joburg Photo Umbrella – JPU, lancé par le Market Photo Workshop)


Autour de l’Uganda Press Photo Awards (dont les lauréats sont annoncés ici) :

From circumcision to gospel hip hop: the best of Uganda’s Press Photo Awards 2014, par Nabeelah Shabbir, The Guardian African Network, le 21/10/14 ;

Art meets journalism at Uganda Press Photo Awards, par Albert  Tumwine, Daily Monitor, le 25/10/14 ;

Pictures that tell Uganda’s stories, par By Bamuturaki Musinguzi, The East African, le 23/10/14 ;

Storie dall’Uganda, Internazionale, le 27/10/14 ;

Le palmarès du prix Bayeux célèbre les reporters de guerre, Le Monde avec AFP, le 11/10/14 ;

A caccia di natura, Internazionale, sans date ;

(Lauréats de la 50ème édition du Wildlife Photographer of the Year, promu par le Natural Museum History de Londres)


« IAM Africa », nouveau magazine d’art féminin, par Sabine Cessou, RFI, le 17/10/14 ;

“La photographe camerounaise Angèle Etoundi Essamba, 52 ans, lance un magazine féminin de luxe, centré sur l’art, la mode et l’architecture. Défrichant un terrain artistique foisonnant, IAM Africa donne une visibilité aux créatrices du continent et de la diaspora. Semestriel bilingue, anglais et français, c’est une sorte de Revue noire pour les femmes.”

Afrique in visu, une aventure photo sur le Continent, entretien de Valérie Marin La Meslée avec Jeanne Mercier et Baptiste de Ville d’Avray, Jeune Afrique, le 16/10/14 ;

Autour d’une ville : Rufisque, le projet d’une sauvegarde !, Une vie en Afrique, le 15/10/14 ;

Nuit noire pour la Centrafrique de William Daniels, par Geneviève Delalot, À l’oeil. Journalisme et photographie, blog édité par Michel Puech, le 5/10/14 ;


Burkina Faso

En images : Le jour où la rue a chassé Blaise Compaoré, RFI, le 31/10/14 ;

(Diaporama réalisé avec les photographes de Issouf Sanogo / AFP, Joe Penney / Reuters, ainsi qu’une image Wikimedia Commons)

Unrest in Burkina Faso, photographies de Joe Penney, Reuters, le 31/10/14 ;

Burkina Faso’s revolution 2.0, par Basia Cummings, The Guardian, le 30/10/14 ;

“With officials and demonstrators posting developments on #lwili hashtag, this is how the protests were covered on social media.”

En Images: les émeutes à Ouagadougou, BBC, le 30/10/14 ;

Burkina Faso : scènes de chaos à Ouagadougou, Le Monde, le 30/10/14 ;

Images of a Dramatic Day in Burkina Faso, par Robert Mackey, The New York Times, le 30/10/14 ;

(Où l’on retrouve également, à côté des photos de Reuters, Le Sahelien, AFP, des images diffusées dans le compte Facebook de l’un des manifestants)

Soulèvement populaire à Ouagadougou, Paris Match, le 29/10/14 ;


Don’t Let Ebola Dehumanize Africa, par Angélique Kidjo, The New York Times, le 30/10/14 ;

“Overnight it seems that all the naïve and evil preconceptions about Africa have surfaced again. Ebola has brought back the fears and fantasies of Africa as the Heart of Darkness and the fearmongering about the disease threatens to reverse decades of progress for Africa’s image.”

‘I am a Liberian, not a virus’: west Africans hit back against Ebola stigma, par Rebecca Davis, The Guardian, le 22/10/14 ;

Finding Visible Hope Amid Ebola’s Invisible Danger, par James Estrin, Lens – The New-York Times, le 26/10/14 ;

Eyewitness to Hell: Ebola in Liberia through the lens of a photographer, par Kieran Kesner, Mashable, sans date ;

Inside the Ebola Crisis: The Images that Moved them Most, par Time Photo Department, Time LightBox, le 2/10/14 ;

See How a Photographer is Covering Ebola’s Deadly Spread, par Olivier Laurent, Time LightBox, le 2/10/14 ;

(Ainsi que Picturing Ebola: Photographers Chase an Invisible Killer, par Olivier Laurent, Time LightBox, le 29/07/14 ;

Award-winning photographer Jodi Bieber was, in her own words, “a hungry young photographer with an assignment from the New York Times Magazine” when she covered the 2000 Ebola outbreak in Uganda. Recalling that work, and the experience of chronicling the grim story, the South African photographer recently told LightBox that “fourteen years later, I would say [covering an Ebola outbreak] is no different than playing Russian Roulette with your life.”)


La profondità del silenzio, Internazionale, sans date ;

Dario Bosio: On the identity of a tomato picker, L’Oeil de la photographie, le 25/10/14 ;

Golfeurs et migrants, l’absurde face-à-face, Libération, le 26/10/14 ;

Photographer criticised by indigenous people and Survival International, par John Vidal, The Guardian, le 29/10/14 ;

“The coffee-table portraits, which sell for up to £45,000 each, are visually stunning, unashamedly glamorous and have been seen in many of the world’s glossy magazines and leading galleries. But this week British photographer Jimmy Nelson’s stylised pictures of African, Asian and Amazon Indian groups have been roundly dismissed as “wrong” by community leaders as well as being called “false and damaging” by the world’s leading defender of indigenous peoples.”

“Ceci n’est pas un livre de photos”, par Anaïs Mauuarin, Arip – Association de recherche sur l’image photographique, le 24/10/14 ;

(A propos d’Afrique Musiquante de Gilbert Rouget, “l’un des maîtres fondateurs de l’ethnomusicologie”)

“En quoi des livres qui accordent une place principale à l’image photographique pourraient être susceptibles de poser problème à un ethnologue ?”

Vanity is good for Guinness, par Olivier Roubert, Décryptage, Polka Magazine, sans date ;

“A l’instar du jeune photographe Omar Victor Diop, qui est en train de se faire un nom à la vitesse de l’éclair, l’artiste sénégalais s’appuie sur l’héritage formel et culturel de ses aînés – le Camerounais Samuel Fosso, les Maliens Seydou Keïta et Malick Sidibé… – et envisage l’Afrique de demain dans un monde globalisé : belle, émancipée, prescriptrice. Culturellement mais aussi économiquement ou, pour le dire de façon plus triviale, devenant un marché au fort potentiel, l’Afrique se réveille. Et Guinness l’a bien compris…”

Fascinating Portraits Explore ‘Romance Tourism’ in Mombasa, Kenya, par Elyssa Goodman, Feature Shoot, le 1/10/14 ;

Calendario Lavazza 2015: dodici scatti per scoprire l’Africa, La Repubblica, sans date ;

“E’ il calendario Lavazza 2015, realizzato dal fotografo Steve McCurry e voluto dal presidente dell’associazione Slow Food, Carlo Petrini, e da Francesca Lavazza.”

A propos de ce projet, lire le billet de Michele Smargiassi, Un caffé corretto al (Mc)Curry, Fotocrazia, le 27/10/14 ;

Stupisce anche un po’ che Slow-Food non si sia accorta della contraddizione fra  i suoi progetti di resistenza e resilienza contro l’industrializzazione omologante dell’agricoltura e la scelta di presentarli attaverso una fotografia fortemente omologata agli stili proposti dal mercato, e per giunta piena di  additivi e di ogm visuali.

Lo storytelling mi pare contraddetto dalla “narrazione” visuale, con esito controproducente. Paradossalmente McCurry avrebbe forse dovuto davvero fingere uno stile reportagistico (sarebbe sempre stata una finzione) invece di trasformare i suoi soggetti reali in personaggi della Pixar.”

Emilie Régnier / série Passeport, par Sophie Bertrand, L’Oeil de la photographie, le 22/10/14 ;

“Chiné sur un marché de Bamako, l’appareil Polaroid que choisit d’utiliser Émilie Régnier, est celui dont se servent les studios délivrant des photos d’identité et offre quatre miniatures semblables. La photographe canadienne détourne l’usage de cet objet formel pour documenter les contrastes d’une société et sortir des stéréotypes.”

Africa Trending: African Art Fair And Sapeur Style, Bloomberg TV Africa, sans date ;

(Au sujet de la foire londonienne 1:54, du travail du photographe britannique Jason Larkin dans les mines désaffectées de Johannesburg’s, des femmes dans la Sape)


African Arts now offers e-reader edition, par Peggy McInerny, UCLA International Institute, le 21/10/14 ;

“Eventually, I am convinced, that the electronic editions of the journal will not only expand our means of distribution,” continues Jones, “but will radically expand the kind of research that our authors will be able to present within the ‘pages’ of the journal.”

Novelist Nuruddin Farah: Facing A Blank Page Is ‘Bravest Thing’ A Writer Does, NPR, le 25/10/14 ;

La dernière livraison de l’écrivain somalien est centrée autour de Bella, une photographe de mode somali de renom !

On the power dynamic between a photographer and his or her subject. Just as there is a power structure between the novelist and the subject the novelist is writing about — it’s the novelist who decides who gets the power of speech. So, whoever puts their finger on the button that ultimately decides what happens with the camera is the one who has the power. And anyone sitting outside of that power zone is turned into a subject. So, I could see parallel between the novelist’s writing, and therefore, deciding, ultimately, the destiny of his or her characters — in the same way that the photographer decides what position to take, what light to use.”

Mohamed Ali Eddin wins Documentary Photography Grant by the Manuel Rivera-Ortiz Foundation.

Un blog pour suivre les “travaux en cours des photographes participant au workshop de l’institut français de Ouagadougou, Burkina Faso.

Le projet du curateur Okwui Enwezor pour la 56ème édition de la Biennale de Venise de 2015 a été dévoilé le 22 octobre dernier, avec le titre All the World’s Futures. Le pavillon belge n’est pas en reste avec le projet Personne et les autres de Vincent Meessen and guests (parmi lesquels Sammy Baloji).

La revue L’Insensé consacre son dernier numéro aux photographes du continent africain.


(“Curieux” d’ailleurs que les couvertures d’ouvrages relatifs à des thématiques africaines incarnent souvent des visages féminins…)

Tandis qu’en concomitance avec le lancement du LagosPhoto Festival 2014, l’Archive of Modern Conflict annonce la parution de son Amc2 #10 portant sur trois différentes collections liées à l’Afrique et issues de l’Archive (dont celle de Photo Jeunesse, un studio basé à Yaoundé depuis les années 1970).



Photography and Sculpture Symposium: Suzanne Blier, Clark Art Institute, September 26-27, 2014, mis en ligne le 30/10/14 (détail du colloque ici) ;

Soweto mall forced to remove statue of slain June 16 hero, par Kwanele Sosibo, Mail & Guardian, le 16/10/14 ;

Citer ce billet
fotota (2014, 6 novembre). Revue de presse # 19 – Octobre 2014. FOTOTA - Perspectives africaines en photographie. Consulté le 14 avril 2024, à l’adresse

1 réponse

  1. fotota dit :

    Un ajout tardif pour la sous-rubrique “Festivals” !

    “LagosPhoto is Five Years Old”, par Joe Penney, Africa is a Country, le 14/10/14 ;

    “Another issue that requires an intervention is the problem of archives. There are extant images that relate to Nigeria and Africa from nearly 200 years up to 30 years ago that are rapidly deteriorating and not properly archived. Restoring, indexing and archiving these images is crucial and urgent. I went to the National Museum and they are in plastic bags. The heat emanating from the bags is deteriorating the film. This is a terrible situation. We want to be able to archive all of these images and keep them because they are part of our national history and heritage.”

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