Revue de presse #28 – Juillet 2015

Une actualité estivale marquée par les festivals et autres biennales (Venise, Arles, Bamako) et les expositions collectives. Sans oublier les archives, toujours actives, même l’été ! Et le clin d’oeil d’Inna Modja à Malick Sidibé.

Actualité des photographes

July 1, 2015 Invisible Borders: An Interview With Ala Kheir, par Christian Niedan, The Mantle, le 1er/07/15 ;

“I shot “Mountains of the East” all in Sudan. “The Fallen Giant” also – it’s a small historical site [in Suakin] in the East of Sudan. Those are some of the projects. Most of my work is more in tune with the landscape and the connection.

I think [shooting those two projects] in black & white, for me, it just sets the right mood that I find in that place, more than color. I think there is a lot of debate going on about black & white, and why should you shoot, or why you shouldn’t shoot black & white. Some people say that it removes some of the color distraction. But for me, it sets the mood more.”

Omar Victor Diop: ‘I want to reinvent the heritage of African studio photography’, interview by Sean O’Hagan, The Guardian, le 11/07/15 ;

Kiripi Siku Katembo, photographe surréaliste à Kinshasa, par Sabine Cessou, Rfi, le le 17/07/15 ;

Turning Point: Mohammed Elshamy

Une rue d’Alger expose 202 photos de Youcef Krache, par Cimon Tazoumbite, Vinyculture, le 05/07/15

“Souhaitant partager avec les passants un nombre élevé de photographies, Youcef Krache s’est donné le défi d’exposer 220 de ses œuvres dans la rue la plus fréquentée de la capitale, un nombre qui correspond au nom de l’agence avec laquelle il collabore.”

Rencontres d’Arles

Arles 5 : découvertes, par Lunettes Rouges, blog, le 18/07/15 ;

“Les (auto)portraits d’Omar Victor Diop le présentent sous les traits d’Africains qui ont joué un rôle hors d’Afrique, en Europe, aux États-Unis, en Inde ou au Venezuela du XVe au XIXe siècle, mais ont été plus ou moins délaissés par l’histoire officielle. Le discours est pertinent, sur la vision univoque de l’Histoire et l’oubli des ‘marginaux’, des étrangers. La forme est très classique, chaque photographie étant inspirée d’un tableau (ou d’une sculpture) d’époque et évoquant donc les codes picturaux, vestimentaires de l’époque, avec une grande dignité, mais j’ai été moins convaincu par le trait ironique consistant à y inclure ballon, gants ou chaussures de foot, clin d’œil contemporain qui n’ajoute pas grand chose.”

Rencontres d’Arles : l’autre Congo, par Valérie Marin la Meslée, Le Point.fr, le le 08/07/15 ;

“Alex Majoli et Paolo Pellegrin, un duo de photographes italiens de l’agence Magnum, mêlent leurs regards dans leur travail sur le Congo-Brazzaville.”

Rencontres de Bamako

Les Rencontres de Bamako veulent remonter le temps, par Claire Guillot, Le Monde, le 21/05/15 ;

Retour à Bamako / Return to Bamako, par Dagara Dakin, Contemporary And, le 27/07/15 ;

Biennale de Bamako : deux artistes de la RDC au rendez-vous, par Patrick Ndungidi, Adiac Congo, le 27/07/15 ;

Médias sociaux

“Like the work of photographer, Roy DeCarava, Humans of Lagos is not a sociological experiment, but more so a look at the ordinary lives of a group of people. Therefore, no matter how many people Ani covers, he rejects the claim that the page is a complete representation of Lagos and all of its inhabitants.”

Expositions

A Moment Missed, par Hansi Momodu-Gordon, Contemporary And, non daté ;

(revue critique de l’édition 2015 de la foire Photo London et de The View from Here, May 22 – June 27, 2015, Tiwani Contemporary, London)

À propos de “The View from Here“: “Taking on a range of themes from personal and collective identities, globalisation and the relationship of the photographic image to performance, moving image and text, the exhibition foregrounds diverse and critical voices in the field of photography. With some managing to push the dialogue into new directions.”

L’exposition Beauté Congo côté photo, par Sabine Cessou, Rfi, le 10/07/15 ;

(à la Fondation Cartier, Paris)

Le photographe Bill Akwa Bétotè, “invité culture”, par Sarah Tisseyre, Rfi, le 13/07/15 ;

(à l’occasion de l’exposition Paris 80 – Pulsations au Cabaret Sauvage Parc de la Villette à Paris, du 2 au 26 juillet)

Collections et marché de l’art

Walther Collection brings African photographers to New York. Project space will host three-year series of exhibitions starting in September, par Anny Shaw, The Art News Paper, Art market news, le 15/07/15 ;

Du côté des archives

Exhibition: The Cape Town Photographic Society Celebrates 125 years, par Michelle Joubert-Martin, The Orms Photographic Blog, le 13/07/15 ;

“The CTPS has spent about six months preparing for the exhibition, going through boxes of 100s of old photos in their archives, and it was a great find when they came across the image of 1890 Table Mountain, several glass slides and many old prints where the change from black and white prints to the introduction of colour prints are evident. In the selection of prints to exhibit, the idea was to try to cover each decade. As far as possible they only used images where they could find the name of the photographer and the date of the image, as you can image this was a most interesting endeavour.”

‘The Other Camera’ at Commune. 1: A Participatory View of Africa, par Jessica Hunkin, Between 10 and 5, le 17/07/15 ;

The Other Camera is a group show that explores a vision of the world from a communal and participatory point of view. It questions the manner in which photographers from communities in Africa (particularly South Africa) photograph their own people, environment, cultures and events. More importantly, it seeks to uncover how the ‘other camera’ has been acculturated and adapted to a modernised, globalised and transforming Africa. To curate the show, Paul Weinberg sifted through various collections and archives.”

Knowledge is Relational, par l’auteur du blog the nile special. An anthropology student in kampala, le 20/07/15 ;

“What I’m trying to say is that the value of the knowledge we’re trying to acquire exists as a relationship, and the various meanings and interpretations through various degrees of intersubjectivity is really what makes our work important. I’m sure this idea has been thoroughly discussed within various academic spheres but I’d like to talk about it slightly more informally and in relation to some of the work that I’ve done for HIP Uganda.”

Sonia Mahamé Allognon, Responsable du Fonds Photographique et de la salle de consultation à la Direction des Archives Nationales du Bénin, propos recueillis par Osséni Soubérou, La Lettre de l’EPA n° 36, juillet-septembre 2015.

Représentations

Inna Modja Visits Malick Sidibé’s Studio In The Video For ‘Tombouctou’, par Killakam, Okayafrica.com, le 17/07/15 ;

“Malian-French soul pop singer Inna Modja shares the music video for “Tombouctou,” her latest single off the upcoming Motel Bamako album. The visuals, shot in Bamako at Malick Sidibé‘s studio, follow the aesthetic of the iconic Malian photographer’s black-and-white 1960s portraits.”

Lagos, entre terre et rêve, par Jean-Philippe Rémy, Le Monde, non daté ;

“Guidée par un livre de l’écrivain nigérian Amos Tutuola, la photographe espagnole Cristina de Middel a découvert le quartier lacustre de Makoko. Et y a réalisé une série recréant le monde onirique de la brousse, peuplé de mystérieux personnages.”

#DevPix: 5 things that can’t be ignored about development photography, par Claire Bracegirdle, Africa is a country, le 13/07/15 ;

“Images used by development organisations are often devoid of context, not even providing so much as a location, nor any details about the person they’re depicting or their life. The underlying message is, then, that the consumers of these images don’t need much information to make out what’s going on: it’s probably Africa, and it’s probably awful.”

Twitter campaign takes on media stereotypes about Africa, par Khanyo Olwethu Mjamba, This is Africa, le 06/07/15 ;

Un rituel ancestral en images. Patrick Willocq, “le frère des Walés”, interview de David Ramasseul, Paris-Match, le 11/07/15 ;

Appels à participation

The Uganda Press Photo Award 2015 opens for entries, par Lwanga, Uganda Press Photo, le 21/07/15 ;

Friedrich Ebert Stiftung (FES) together with The Foreign Correspondents’ Association of Uganda (FCAU) are pleased to announce that the Uganda Press Photo Award is now open for entries from Ugandan photojournalists and photographers.” The deadline for submissions is September 1st, 2015.

Fotoparty is born, The Niche, le 19/07/15 ;

“The Nlele Institute and VAN Lagos, in cooperation with Goethe-Institut Nigeria is organising a bi-monthly visual-leisure event titled Fotoparty, which first edition holds on July 25.”


2 réponses

  1. fototaa dit :

    Et cette publication : African Lens: Volume Two
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  2. fototaa dit :

    Quelques infos supplémentaires pour compléter la revue de presse de juillet 2015 :

    The Man Behind the Lens: Travelling the continent with Nana Kofi Acquah, par Edem Torkornoo, ALU, le 1er/07/15 ;

    Born Free in South Africa, par Andrew Boryga, The New York Times, le 14/07/15 ;

    Last year, along with two other photographers, Mr. Mpongo raised money on Kickstarter to travel around South Africa for six months and document the “born frees,” as his generation is known. The collaborative project is called “Twenty Journey.”

    Who exactly are the born frees? They’re slightly younger than what Americans consider millennials. In the media and in rooms full of elders, they are deemed apathetic, apolitical and unaware of the history and struggle that preceded them. How they define themselves has yet to be determined.

    Tracing Emerging Contemporary Art Practice in Nigeria, par Houghton Kinsman, Another Africa, le 24/07/15 ;

    The Manchester town hall meeting that shaped Africa: remembering the Fifth Pan-African Congress, par Brennavan Sritharan, The British Journal of Photography, le 27/07/15 ;

    “What photographers need to do is encourage us to take responsibility,” says Sealy. This notion of accountability of the collective, expounded in French philosopher Emmanuel Lévinas’ post-war writing, is a strong influence on his curation.
    “I don’t think photographs inherently change anything. I think what they can do is they can generate a conversation about the time and place they refer to, and help us historically rethink the present.

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