Revue de presse #27 – Juin 2015


Studio Portraits: “Third Culture Kids”. Photography by Atong Atem (photo à la une), Dynamic Africa, sans date ;

“Being a Third Culture Kid, means recognising there’s a space that exists between the culture we’re from and the culture we’re living in. I feel not South Sudanese enough, or not Australian enough. I have to accept that I’ll never be both: those ideas are completely fabricated from outside of myself.”

Young Photographer Sipho Mpongo Goes to New York as a Magnum Human Rights Fellow, Between 10 and 5, le 23/06/15 ;

“21 year old Sipho Mpongo is the first South African photographer to be awarded a fellowship by the renowned Magnum Foundation. Throughout 2014 he travelled across the country with Sean Meterlerkamp and Wikus de Wet for the Twenty Journey, using his lens to explore what it means to be born free in South Africa today.”

This Ugandan Photographer Tells People’s Stories With His Camera, This is Uganda, le 14/06/15 ;

“Papa Shabani: The activity of staring at photos for countless hours is one of the strongest memories that I have from childhood. And this also inspired my university research topic “The Role of Photography as Therapy” when I tried to question myself why I spent two much time looking at photo material as a child, I found out that there was/is a psychological trance that my conscious went/goes through whenever I interact with photos.”

Students and selfie sticks: life in Sudan’s capital – in pictures, par Mohamed Nureldin Abdallah, The Guardian, le 11/06/15 ;

Nigeria in pictures: The firemen of Lagos, BBC, le 10/06/15 ;

(Photographies de Akintunde Akinleye)

Changing focus: The art and activism of Omar Badsha, par Bongani Kona, Mail & Guardian, le 5/06/15 ;

“I ask Badsha, whose work featured in the monumental exhibition Rise and Fall of Apartheid curated by Okwui Enwezor, what he ranks as his proudest achievement. “There’s no such thing as pride, because pride is not what you’re out there to do,” he says.

“You do what you have to do because you have to do it. Because it’s for your own sense of self-worth and survival. You’re part of a movement. You don’t think about pride or big prizes or world renown or anything. You’re just one of many … you were bearing witness and providing a voice.””


Bridging the gap: New network zooms in on Africa’s photography, Mail and Guardian, par Stefanie Jason, le 17/06/15 ;

“Creating a strong link with photographic centres and practitioners across the continent, the project aims to develop critical thinking on photography by supporting already established formal and non-formal training structures and initiatives in Africa. The network, which is facilitated and incubated by the Goethe-Institut in collaboration with the Market Photo Workshop, also intends to form a solid educational resource hub for photography on the continent.”


Cameras and the Indian Ocean, par Erin Haney, Africa is a Country, le 26/06/15 ;

“In the long durée of exchange, photography’s global histories fundamentally undermine our outmoded understandings of what ‘modern’ means: these photographers took up new technologies, making use of those practices deemed relevant and useful, and aesthetically domesticated the camera and its contents.”

(Autour de l’exposition en ligne Sailors and Daughters: Early Photography and the Indian Ocean curatée par Erin Haney dans le cadre du projet Connecting the Gems of the Indian Ocean: From Oman to East Africa project du Smithsonian’s National Museum of African Art)

Portrait of a Lady, par Teju Cole, The New Yorker, le 24/06/15 ;

“Photographs by Keïta, Sidibé, Agbodjelou and Ojeikere are united by the period in which they were made as well as by geographical and cultural proximity to one another. There seems to me a correspondence between the energy of these pictures and the optimism and determination of the West African independence movements of the ’50s and ’60s.”

Parution de Ebifananyi III – All The Tricks, d’Andrea Stultiens, History In Progress Uganda, Ydoc Foundation ;

“Ebifananyi is the title of a series of at least four and possibly more publications by History In Progress Uganda (HIPUganda). Each book is centred around one Ugandan photo archive, exploring its narrative possibilities with images, supported by text.

The third book of the Ebifananyi series,  Ebishushani III – All the Tricks, delves into the life of Elly Rwakoma who was a corporate and a studio photographer as well as a social worker and a businessman. The work in Ebishushani III focuses on the photojournalistic work of Rwakoma, which due to various circumstances went missing. The story behind this loss is part of the publication. The viewer will be given an insight into the surroundings and conditions in which Rwakoma worked (or was withheld from work).”

New images online – June 2015, Endangered archives blog, le 19/06/15 ;

“This month we have had one project go online, EAP656. This is a project from Uganda which digitised the photographic archive of Ham Mukasa, a leading intellectual and ethnographer in Buganda, a subnational kingdom within Uganda. The collection dates from 1868-1956 and makes a valuable contribution to the understanding of this period in Uganda’s history. The collection includes over 2000 photographs.”


Bamako Samedi Photo, une rencontre mensuelle pour les photographes maliens, Actuphoto, le 27/06/15 ;

La Biennale de Bamako dévoile les artistes sélectionnés pour prendre part à la 10ème édition ;

BAMAKO : le Saint-louisien Ibrahima THIAM, sélectionné à la Biennale panafricaine de la photographie, Ndarinfo, le 9/06/15 ;

But I wonder why do we have to be so bothered about the challenges of being received abroad, entretien avec Bisi Silva, par Dominic Muwanguzi, The Independent, le 21/06/15 ;


Dawit L. Petros Captures the World with a Camera and a Cardboard Box, par Stephen Dillon,, le 24/06/15 ;

“Born in Eritrea and based in New York, Petros is currently included in an international group show, “The View From Here,” at Tiwani Contemporary in London—a gallery that specializes in the work of artists from the African diaspora. Petros, who was a fellow in the prestigious Whitney Independent Study Program, takes a modernist approach to photography: he employs a formalist lexicon, using line, form, and color to explore ideas around image-making.”

Décoloniser les archives photographiques : le geste d’une artiste à Bétonsalon, par Anaïs Maurin, blog de l’ARIP, le 18/06/15 ;

“Cette exposition conduit ainsi à prendre conscience que toute archive étant nécessairement ancrée géographiquement et historiquement, l’est par là-même politiquement. Le choix des sources n’est donc jamais neutre. Et il peut se transformer en geste éthique.”

Livre ouvert. Maryam Jafri, par Claire Kueny,, le 16/06/15 ;

“Ainsi sont juxtaposées en sous-groupes de 3, 4, 6 photos parfois, les arrivées des dignitaires à l’aéroport ; les défilés et les saluts à la foule des nouveaux présidents ; les signatures de l’indépendance, etc. Une chose nous frappe : l’uniformité des cérémonies de ces pays qui venaient de quitter le joug de la domination occidentale mais qui, inlassablement, en conservent ses codes. Dans ces instantanés photographiques d’une apparente neutralité recensés et classés par Maryam Jafri se joue toute la tension entre ce qui s’est passé avant et ce qui se passera après. Une tension d’autant plus forte qu’on la regarde avec des yeux d’aujourd’hui, des yeux qui connaissent ces fameux jours d’après.”

Photographs capture life as a black lesbian in South Africa, par Tracy Wholf, PBS, le 14/06/15 ;

“South African photographer and activist Zanele Muholi is on a mission to bring the experience of black lesbians in her home country to the forefront, as many members of the community face high rates of violence, including incidents of so-called “corrective rape.” Muholi’s work is on display at the Brooklyn Museum through November.”

London exhibition showcases a new generation of conceptual photographers from across Africa, par Marine Guichard, British Journal of Photography, le 8/06/15 ;

“The camera, the exhibition posits, has been misused. Photographs have been misrepresented. It has objectified the African experience, and its relationships to past colonies. But, in recent years, the camera has also become a tool of empowerment.

The seven African artists exhibiting are aware of this contradiction. They have given up on using photography as a documentation tool and instead adopted personal and subjective approaches that speak, perhaps more accurately, of wider issues.”


Les traces d’une ville minière en Afrique du Sud, par Camille Périssé, OAI13, le 18/06/15 ;

“En 2012-2013, à l’initiative des Rencontres d’Arles et du Market Photo Workshop de Johannesburg, une mission photographique a été organisée pour réfléchir sur les différents aspects de la société Sud Africaine contemporaine. Le projet Transition réunissait alors six photographes Sud Africains et six Français pour une exposition et une publication communes. Le livre Trace Kimberley aux éditions Les instantanés ordinaires revient aujourd’hui sur le segment réalisé par le photographe français Patrick Tournebœuf, parti sur les traces de la célèbre ville minière Sud Africaine”

Cristina de Middel, Benedicte Kurzen and Robin Maddock show different sides of Nigeria, par Tom Seymour and Jon Max Spatz, The British Journal of Photography, le 24/06/15 ;

“Shine Ur Eye, a photography collaboration between Cristina de Middel, Benedicte Kurzen and Robin Maddock, brings together and explores their recent response to living in Lagos, Nigeria, while contrasting each photographers’ dramatically different photographic process.
(…) British photographer Robin Maddock is displaying, for the first time, digitised images he discovered in the Nigerian National Museum archive. It contains, he says, “piles of slides, many in a state of decay, like a treasure trove.” The slides are presented as found, with no interference from the photographers, save to present these ethnographic images of masks and other objects as significant insights into Nigerian cultural history and heritage, as well as fascinating photographic records in their own right.”


Claude Iverné, lauréat du prix HCB 2015 / winner of the 2015 HCB Award

“Grâce au Prix HCB, Claude Iverné projette de documenter la naissance du 193e Etat de notre planète, le Soudan du Sud. Il a choisi d’en esquisser les traits historiques, d’en tracer les contours contemporains. « Bahr al Ghazal » est le second volet d’un travail, qui doit être lu en miroir, réalisé au nord Soudan. Le Sud et le Nord s’éclairent l’un et l’autre. Le titre du projet emprunte le nom léger de la région la plus meurtrière du Sud Soudan en quarante années de guerre civile. En opposition au volet nord, dont le corpus d’images fut essentiellement réalisé au grand format en noir et blanc, Claude Iverné privilégiera la couleur, non pour elle-même, mais par souci de brouhaha, à l’instar des shows évangélistes, des enseignes multinationales, des publicités urbaines, des logos qui louent de concert la cacophonie globale. Un feu d’artifices pour bénir la mutation précipitée d’un territoire encore épris de nomadisme vers une économie de marché.” (d’après le site de la Fondation HCB)

Citer ce billet
fotota (2015, 1 juillet). Revue de presse #27 – Juin 2015. FOTOTA - Perspectives africaines en photographie. Consulté le 14 avril 2024, à l’adresse

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