Revue de presse #23 – Février 2015


Fresh eyes: Yannis Guibinga’s photos of Gabon, par Zachary Rosen, Africa is a Country, le 26/02/15 ;

“I feel like Gabon and Central Africa in general are sometimes left out of the conversation when it comes to African creatives. Most of the people we see come from places such as Nigeria or Ghana, which is a good thing for them, but I think it would also be great to show to the world that Africa does not stop at these few countries and that there are way more talents on the continent.”

Pamiers vu sous l’œil d’un photographe sénégalais, La Dépêche, le 26/02/2015 ;

Mauro Pinto: “No creo que los fotógrafos africanos estén retratando realmente su continente”, par Sandra Quiroz, Afribuku, le 24/02/15 ;

Rotimi Fani-Koyade – The Art of Exile, par Tom Seymour, British Journal of Photography, le 20/02/15 ;

“Rotimi Fani-Koyade died 25 years ago, exiled for the crime of homosexuality. As Nigeria adopts new anti-gay legislation, his legacy lives on”

Self-portraits of Africa’s past, par Kelly Berman, Design Indaba, le 13/02/15 ;

“Diop slips a modern-day narrative into these restagings with references to the game of soccer, a world in which many African players have achieved recognition while still facing racism. He produced this body of work while on a residency in Malaga, Spain, where he had his own experience of cultural alienation. The soccer references, says cultural curator Raquel Wilson, “show the duality of living a life of glory and recognition, while facing the challenges of being ‘other’.”

Africa remix: the artists subverting colonial imagery, The Guardian, le 11/02/15 ;

“Africa’s major urban centres have since 2000  become rapidly digital ready: investment in mobile broadband, fibre-optic cables, and the expansion of power supplies has enabled millions of people across the continent to get online. Coupled with the declining costs of smartphones and tablets, reports celebrating Africa “going digital” proliferate.But few focus on the more creative and unusual side of digital engagement: how this world has become a playground for artists.The information age has disassembled what we thought we knew about Africa. Artists are not only experimenting with digital technologies, but creating new images and artworks that investigate the spaces between the past and the present, analogue and digital, pre- and post-colonial realities.”

A Disturbing Memory, interview de Caroline Hancock avec Nomusa Makhubu, Contemporary And, sans date ;

“I use performative photography to revise the ways in which post-memory is not only inherited memory without primary experience, but can rupture and interrogate predominantly masculine historical narratives. Performed photography, in which the archive or historical as well as canonical photographic imagery is appropriated, functions as a necessary interruption and a powerful assertion.”

What if black people inverted South Africa’s township tours ?, Africa is a Country, le 12/02/15 ;

“What if two black Capetonians (both photographers) went to Camps Bay doing “an alternative township tour” to invert the “township tour”?”

Les cinq artistes africains de l’année 2015, par Roxana Azimi, Le Monde, le 10/02/15 ;

“Les Africains sont (presque) toujours absents des hit-parades des plasticiens les plus cotés sur le marché ou des palmarès des « figures de pouvoir » qu’affectionnent les revues d’art anglo-saxonnes. Mais l’année 2015 pourrait bien se placer sous le signe de la revanche. À la Biennale de Venise, véritables olympiades de la planète arty, le commissaire nigérian Okwui Enwezor a promis « un nombre substantiel » d’artistes africains. D’autres créateurs auront les honneurs de musées ou d’événements marquants comme les Biennales de Sharjah, dans les Emirats arabes unis, ou de Lyon. Nous en avons sélectionné cinq, un choix subjectif, restrictif mais assumé.”

Joana Choumali: “Hââbré, the Last Generation”, par Marian Nur Goni, Leica camera blog, le 4/02/15 ;

Sélim Harbi: Beirut Visual Itinerancy, par Marian Nur Goni, Leica Camera Blog, le 3/02/15 ;

“Our objectives were clear right from the start of this collective (NDLA: “Afreekyama) that I founded with my friend Oualid Khelifi, an Algerian photographer and activist: to offer a more profound vision of the South, to look at the South differently. When I say “South”, I notably mean sub-Saharan Africa: a world that’s right on our doorstep, but which we have turned our backs on to gaze magnetically, and ultimately absurdly, northwards. And yet, between North Africa and the sub-Saharan countries, there’s an anthropological, cultural, historical and even religious proximity. So we felt that there’s a lot to rediscover and to say about this relationship, the idea being to find narrative bridges and to bring these two blocks closer together, blocks which are, in fact, a lot closer than we imagine.

We would also like to rediscover, to actualize African identity in North Africa, this “Africanity” within us that we know so little about.To do this, we have created a network of friends and photographers: Ishola Akpo in Benin, Moustafa Cheaiteli in Ivory Coast, Sophie Baraket in Tunisia, Raouf Madi in Libya and finally Mourad Krinah in Algeria. We try to exchange, to communicate ideas and information, but each of us is free to do what he or she prefers, to work with the medium that suits them best – photo, video, multimedia – so long as it fits in with the group’s philosophy: a southward-looking Southern gaze. There’s no hierarchy between us, just a committee that tries to carry out the editorial work, for example, by suggesting narratives, or finding appropriate publications to give us greater visibility. Our office is the internet, our meetings take place on Skype, but the collective now has a legal status and we are trying to create the best conditions to encourage all our contributors while continuing to produce content at the same time.”


Sudden Flowers, par Maaza Mengiste, The New Yorker, le 4/02/15 ;


“KOUDJINA en héritages”

L’an dernier, j’avais assisté à ses obsèques au cimetière catholique de Niamey. Tous les photographes de la place étaient là, silencieux et émus. Ils étaient venus rendre un dernier hommage au plus grand photographe du Niger, Philippe Koudjina Ayi. Célèbre chroniqueur des nuits “folles” à Niamey dans les années 70, il était l’auteur d’une oeuvre remarquable. “Koudjina en héritages” est le titre et le fil rouge de ce workshop de 15 jours qui va débuter à Niamey, avec la double ambition de rendre un hommage inédit à ce photographe défunt et d’accompagner une sélection de photographes nigériens dans l’expression d’un regard d’auteur sur les multiples facettes du Niger contemporain.”

(Extrait tiré de la page Facebook de Philippe Guionie, le 7/02/15)


Survival and Death in a Faraway War, par Jean-Philippe Dedieu, Lens – The New York Times, le 2/02/15 ;

(A partir de quelques autochromes de “tirailleurs sénégalais” conservés au Musée Albert Kahn de Boulogne)

South African photographer recalls joy of Mandela’s release, par Lynsey Chutel, AP News, le 10/02/15 ;

“While most photographers waited outside the prison where Mandela was to be freed, Chris Ledochowski wanted to capture the moment the anti-apartheid leader would address South Africans for the first time in nearly three decades.Mandela’s image had been banned by the apartheid regime and the vast majority of South Africans had not seen a photograph of him since he was sentenced to life in prison in 1964 for treason charges related to opposing white minority rule.”We hadn’t seen Mandela’s photograph in a very long time but we also hadn’t heard his voice,” said Ledochowski, who was 34 at the time, Feb. 11, 1990.”(…) “What camera you were using, and which F-stop and which speed you were shooting at, those are not the issues. The issue is from which perspective you were taking the picture.”


Photographies d’Ouganda, portrait nuancé, par Francine Clément, Thot Cursus, le 17/02/15 :

(Autour du projet HIPUganda et du travail d’Andrea Stultiens)

Somali Photographer Amaal Said Uses Her Lens to Create Beautiful Portraits Of Inspiring Young WOC, Dynamic Africa ;

“My work is absolutely about filling a void. I keep asking myself, ‘if you don’t take the pictures then who will? Who’s going to photograph the women you love in a light that is fair to them, in a way that they recognize themselves?’(…)
I have to start with Alfredo Jaar. He said, ‘images are not innocent.’ I’ve always known that photography is political but his work showed me how important it was to be conscious of what you were photographing and in which way you were portraying your subjects, which stance you were taking.I’m also in love with Malick Sidibe’s work. His portraits are incredible and they make me want to hold on to and keep old pictures of my parents safe.”

Quatre photographes marocains à suivre, par Youssef Roudaby, Telquel, le 2/02/15 ;

MEETING POINT #8: Entretien de Shelley Rice avec Jeanne Mercier, Le magazine du Jeu de Paume, le 6/02/15 ;


Nyaba Léon Ouedraogo, « Si le fleuve disparaît, c’est tout le Congo qui disparaît. », interview de Rose-Marie Bouboutou, Agence d’information d’Afrique centrale, le 18/02/15 ;

(Autour de la parution de l’ouvrage Phantoms of Congo River publié aux éditions Vus d’Afrique).

In Conversation with Bisi Silva on J. D. ‘Okhai Ojeikere Crowd-funded Monograph, Art South Africa, le 5/02/15 ;

“The development of a history of photography in Nigeria is still in the embryonic stages, with few if any critical monographs on individual photographers. The few that exist have been written from outside of the continent. The publication J. D. ‘Okhai Ojeikere is fortunate to have benefitted from the full engagement and collaboration of the photographer, giving it the contextualization and criticality that many projects on older African artists sometimes lack. However, one of the main reasons was to highlight the diversity, depth and longevity of his practice beyond the ‘Hairstyles’ series. The publication highlights the interrelation between his architecture, hairstyles and headgear photography. In tracing the years before ‘Hairstyles,’ we have a deeper understanding of his trajectory and the local context that engendered such work.”

Voyage au pays de la Sape, par Léa Barreau-Tran, LAMenparle, le 5/02/15 ;

(Autour de l’ouvrage S.A.P.E. d’Hector Mediavilla, publié en 2013 aux Editions Intervalle. Billet publié dans le blog du laboratoire LAM – Les Afriques dans le monde, SciencesPo, Bordeaux  !)


Ordinary people celebrated in street photographers’ art, par Robyn Sassen, Mail & Guardian, le 25/02/15 ;

(Autour de l’exposition The Other Camera – présentée à l’Origins Centre gallery, Braamfontein et curatée par Paul Weinberg -, dont un portfolio titré “Exhibition celebrates how Africans photograph themselves” est publié dans le même journal)

«La Sape» congolaise à l’honneur à Paris au Palais de Tokyo, par Fanny Laison, RFI, le 20/02/15 ;

(Dans le cadre de l’exposition Bord des mondes, jusqu’au 17 mai au Palais de Tokyo, Paris)

Famine babies and crying war widows: unpicking the cliches of conflict photography, par Sean O’Hagan, le 2/02/15 ;

“One of the many complex questions Sealy asks is: what does it mean for Africans, or Salvadorians or Palestinians, to have their struggles mediated almost exclusively through outsider’s eyes? And, even more problematically, how can we trust images made and disseminated within “a very particular tradition of Eurocentric concerns”?”

Autour de l’exposition Human Rights Human Wrongs à la Photographers’ Gallery, London W1, du 6 février au 6 avril 2015. A ce propos, lire aussi : Curator Mark Sealy Introduces Human Rights Human Wrongs, The Photographers’ Gallery Blog, le 19/02/15 ;

“In essence, I wanted to unpick an essentially imperialist notion of power and examine the mechanics of how such notions work. So much of the world, in terms of how we understand it, and specifically in terms of the imagery we are presented with, is conceived from a very particular tradition of Eurocentric concerns, and any enquiry into photojournalistic practice and its impact on humanitarian objectives, has to necessarily interrogate not only the kind of images we are presented with, but where, when and how they are distributed.

Fundamental to the structure of the exhibition was also the desire to move away from presenting a didactic or linear perspective on history. Seeing things in isolation can be really problematic and so I wanted to unhinge some of our so-called definitive moments and set them within a wider, more relative framework. For example, we often talk about the Civil Rights Movement as if it was a localised incident, but it’s vital to consider it within the larger context of African liberation struggles more generally; to understand the simultaneous efforts and other political objectives towards freedom and democracy at play in different parts of the world and to recognise the shared ideological struggle behind these movements.”

Photographer Spotlight: Youssef Nabil, par Michael Kurcfeld, La Review of Books, le 5/02/15 ;


See the Photos That Gave Americans Their First Glimpse of Apartheid in 1950, par John Edwin Mason, Time, le 11/02/15 ;

“The photographs LIFE published in “South Africa and Its Problem” spoke eloquently about the indignities that blacks endured, the wealth that they created but did not enjoy, and about the political and economic structures that kept them in their place. It cast blacks as workers and “natives,” who were essentially passive in the face of an oppressive system. “The Whites Won the Land, the Blacks Work It,” one of LIFE’s headlines proclaimed. There seemed to be little hope for change
It was a convincing argument, but it was profoundly incomplete.
Modern readers are likely to wonder, after flipping through the essay, Where is Nelson Mandela? And where is the African National Congress (ANC) he led to power in 1994? More broadly they might ask, Where is any evidence at all of black activism? The evidence, in the form of Bourke-White’s photographs, existed. LIFE’s editors chose not to publish almost all of it and to minimize the rest.”

Les visages de l’ombre, par Olivia Marsaud, Afrique in visu, le 3/02/15 ;

« “En plus, il ne s’agit plus à présent de prendre les personnes sur le fait, la suspicion d’homosexualité est suffisante pour être accusé… Après l’adoption de la loi, la plupart des tabloïds ougandais comme Red Pepper, Hello et The Sun, ont, pendant plusieurs semaines, publié des centaines de photographies d’homosexuels présumés et d’activistes gays sous le titre “Pendez-les”. »

C’est pourquoi le photographe a choisi, avec sa série « Let them show their faces » (« Laissez-les montrer leurs visages ») de prendre le contre-pied de cet étalage médiatique inadmissible : il a demandé aux activistes LGBT ougandais de poser devant une lumière vive. Mais il a choisi de les photographier de dos, la silhouette délicatement découpée par la lumière crue. « Les images représentent ce qui pourrait être un négatif hypothétique des photos diffamatoires publiées dans la presse. »


Les prix du World Press Photo 2015 ont été annoncés à Amsterdam le 14 février dernier, voir la liste des lauréats dans les différentes catégories ici.

(Au sujet du palmarès de cette année, des tendances qu’il inaugure dans le droit fil des choix de l’année 2014, ou enfin des polémiques en cours, voir par exemple :

Le World Press Photo redessine le photojournalisme, par André Gunthert, L’image sociale, le 14/02/15 ;

En 2015, le World Press Photo en quête de « subtilité », par Claire Guillot, Le Monde, le 12/02/15 ;

Debating the Rules and Ethics of Digital Photojournalism, The New York Times, le 17/02/15 ;

La Ville de Charleroi s’attaque au World Press Photo, par Gabriel Coutagne, Le Monde, le 27/02/15)

Publications de Stories of Change – Beyond the ‘Arab Spring’ et de Congo. Photographs by Alex Majoli and Paolo Pellegrinn Words by Alain Mabanckou ;


Bandjoun Station, “laboratoire sans frontières”, par Érika Nimis, Africultures, le 18/02/15 ;

“Au-delà du combat légitime pour exposer en Afrique dans de bonnes conditions, et ce loin des grands centres urbains, des artistes reconnus internationalement, le pari de Bandjoun Station est au final de faire assumer pleinement aux Africains leur propre vision artistique, leurs choix esthétiques, afin de rééquilibrer les termes de l’échange Nord-Sud. Monde de l’art et monde rural, même combat.”

“The twenty-first century belongs to the South”, interview avec Marieke van Hal, Contemporary And, sans date ;

Touria El Glaoui : « L’idée d’une collection panafricaine est un concept européen », par Roxana Azimi, Le Monde, le 16/02/15 ;

TV screens: Bringing art to the masses in Uganda, par Catherine Byaruhanga, BBC, le 5/02/15 ;

OpenEdition vous propose de citer ce billet de la manière suivante :
fotota (1 mars 2015). Revue de presse #23 – Février 2015. FOTOTA - Perspectives africaines en photographie. Consulté le 19 juillet 2024 à l’adresse

1 réponse

  1. fotota dit :

    Un ajout tardif à la revue de presse du mois de février 2015 :
    ‘Photoblogging Is My Sustenance’, Says Ugandan Photographer Edward Echwalu, par Prudence Nyamishana, Global Voices, le 7/02/15 ;

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