Revue de presse #36 – Mars 2016

Avec un mois de retard, voici les articles de la moisson de mars !

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© Oumar Ly, non daté.

Ce mois-ici nous avons appris, avec tristesse, la disparition du photographe Oumar Ly, né vers 1943 dans la région de Podor au Sénégal, “un monument, une bibliothèque”, écrit l’article qui l’annonce (Ndarinfo, 2/03/16). “Le gérant du Thioffy Studio”, continue-t-il,  “s’en va ainsi sur la pointe des pieds après avoir rendu de loyaux services à sa communauté.”

Un article paru dans Time – In Memoriam: Oumar Ly (1943 – 2016) – retrace son parcours, en insistant sur l’archive qu’il laisse, riche plus de 5 000 photographies, fruit d’un travail de 50 ans dans son studio, ouvert en 1963.

Frédérique Chapuis lui rend hommage dans L’Oeil de la photographie (2/03/16), d’autres témoignages sur son parcours sont à lire ici (Wakhart.com, le 6/03/16), tandis que RFI titre : Oumar Ly, photographe sénégalais ou anthropologue de Podor? (3/03/16)

“Le Sénégal, devenu indépendant, veut fournir des papiers aux populations. L’administration l’embauche et l’envoie sillonner la brousse pour tirer le portrait des citoyens. Il peaufine sa technique et attire bientôt de nombreux clients dans son studio.”

Actualité des photographes

Big Dreams: Life Built on Gold – Nii Obodai Provencal’s Notes from the Field, Magnum Foundation, sans date ;

“Trust doesn’t come easily in the gold mines. To have people allow me into their fragile and desperate lives demands a reconsideration of the photographer’s role. (…) As I work I stop to change cameras and share with them the process of making their instant portrait. In the days of street passport photography in Ghana it was called “gyinyahodze,” or “stand and collect.” They get the original positive print, and I get the negative.”

Photographing The Streets Of Addis, par

“#StreetsOfAddis began as a hashtag on Berta’s personal Instagram. It later became the theme of an exhibition, and most recently, the foundation for an Ethiopian street photography community. Berta, who’s also part of the @EverydayHornOfAfrica collective, encourages his fellow Addis-based photographers to share their own images for the @StreetsOfAddis Instagram feed.

“The Addis Ababa photo scene is growing,” Berta tells us. The community is steadily increasing as more galleries, events and workshops geared towards photography and photographers pop up. According to Berta, camera phones are allowing more and more Ethiopians to take an interest in photography. “People are realizing that beauty isn’t always about setting up a scene or taking a photo of oneself,” he says.”

The astonishing artistry and aesthetics of African masking, par Charlotte Jansen, AnOther, sans date ;

Un peintre nigérian rencontre un succès fou avec ses tableaux hyper-réalistes, Slate, 10/03/16 ;

Omar Victor Diop: «Vi racconto i volti dell’Africa del passato e del futuro », par Chiara Mariani, Il Corriere della Sera, 16/03/16 ;

“(…) Mi piace pensare che queste fotografie contribuiscano a una conversazione universale, che sollecitino una riflessione su come possiamo usare il passato per ripensare i rapporti nel presente”.

Young Africans, Wrapped in Tradition, par , Lens – The New-York Times, le 2/03/16 ;

“She initially found most of her subjects — lawyers, students, doctors and managers — on the streets of Abidjan. Her sole requirement for the portrait was that the women had to wear traditional clothing already worn by their grandmother or an older female relative. This was intended to “emphasize the link between past and present, and also the cultural heritage,” Ms. Choumali said. Inspired by the golden hues of Rembrandt’s paintings, she handmade a backdrop to give the portraits a “feeling of time travel,” she said.”

Armory Africa Focus Preview: A Conversation with François-Xavier Gbré, Aperture, le 1/03/16 ;

“This chapter of my work (NDR : Tracks, 2009-2015) includes both a question and an answer: Why don’t we have a better understanding or recognition of African history? Because African archives are in a mediocre state.”

On parle encore du travail de François-Xavier Gbré dans l’article, au demeurant problématique (voir l’extrait ci-dessous) dans The Armory Show Unveils a New Era for African Art, par Ryan Steadman, Observer, le 3/02/16 ;

“Of course, there’s been a strong thread of African artists, like El Anatsui and William Kentridge, in the contemporary art scene for decades. But these days there’s great excitement for young African artists. Their work tends to come cheaper than most of the aforementioned MFA-graduate artworks, and they also offer the chance to consider artwork that has been informed by real issues: murderous, religious fanatics and environmental disasters, for example (not problems like having to sign in and out of multiple Instagram accounts, which, let’s face it, does suck).”

Émilie Régnier, Vogue.it, le 1/03/16 ;

“Per illustrare quanto sopra, ho utilizzato una tecnica in uso tra i fotografi locali. Non potendosi permettere una macchina fotografica digitale, molti fotografi ivoriani continuano a lavorare con i rullini. Molti si occupano di fotografia di bellezza. Con la macchina fotografica al collo, girano per la città allo scopo di arricchire il vasto repertorio della miriade di acconciature disponibili sul mercato. Dopo aver sviluppato le foto in laboratorio, cercano di venderle ad un prezzo che varia dai 75 centesimi ad $1 ai vari parrucchieri. Per risparmiare, stampano due prospettive dello stesso taglio/acconciatura per ogni stampa.”

Close-up: Mário Macilau reveals the secrets to his award-winning portraiture, par Wessie du Toit, Wallpaper, le 1/03/16 ;

Expositions

New York : Malick Sidibé, par L’Oeil de la Photographie, le 28/04/16 ;

 “Une grande partie de cette sélection variée de tirages en noir et blanc, anciens et contemporains, n’a jamais été exposée auparavant. Elle consolide cependant l’influence durable de Sidibé dans le monde artistique actuel.”

La dolce vita di Bamako, Internazionale, le 17/03/16 ;

“Quando ho aperto il mio studio sono stato fortunato perché avevo l’elettricità ed essere fotografati con la luce era considerato di lusso”, racconta Sidibé in un’intervista.”

Malick Sidibe et Omar Victor Diop, correspondances, par Frédérique Briard, Marianne blog Décadrage, sans date ;

Malick Sidibé, Omar Victor Diop Studio Portrait(s), Diptyk, le 19/03/16 ;

“(…) Et pourtant un point commun : l’œil du galeriste André Magnin qui possède dans sa collection ces deux artistes, photographes témoins de leur génération.

Françoise Huguier ambassadrice de la photo africaine, émission Regardez voir, France Inter, le 30/03/16 ;

“Françoise Huguier a sélectionné une centaine d’images. Parmi les œuvres de 40 artistes présentées dans le centre d’art de la Fondation Blachère (…)”

Dans le Grand palais de Seydou Keïta, A M E R, Atelier des Mots et du Regard, sans date ;

“Espérons que ce nouveau coup de projecteur médiatique sur cette œuvre magistrale ne laisse pas pourrir d’autres malles bleues et ne profite pas qu’aux organisateurs de ce grand show.”

Burkina Faso : Amnesty International expose les dernières photos de Leïla Alaoui, par Nadia Lamlili, Fédération Gams, le 12/03/16 ;

“À titre de symbole, l’exposition se tient à Ouahigouya, dans le nord du pays, la dernière ville où Leïla et son chauffeur se sont rendus dans le cadre de leur mission. Sur les 12 portraits exposés, 7 ont été réalisés par la photographe disparue. Elle a longuement rencontré ses modèles afin de bien comprendre leurs activités et leur façon de concevoir la vie. Une méthode de travail lui permet de trouver le ton juste pour chaque portrait et de faire ressortir, en toute sobriété, ce que ces femmes ont de digne et de positif face à la douleur de leur vécu.

Rewriting History with Omar Badsha, par K. Tshuma, Shots011, le 10/03/16 ;

OB: I’ve always been interested in history, to use history and make people aware of the past and how struggles were conducted. When we started organising ourselves in the trade union movement, history was part of our discussions with workers. We made references to history and how workers in the past had organised, what had happened to those organizations, and why they died.

After 1990, and especially after 1994, a few of us began to talk about building an archive to make the younger generation aware of the past, of the struggle. So people such as Phyllis Naidoo, Govan Mbeki and other friends of mine had this discussion.”

(…) You must remember that my generation of artists, some of us, were concerned about making art a part of black people. We didn’t want it to be seen as something separate from their everyday lives.”

Rhodes Must Fall exhibition vandalised in UCT protest, par Ashraf Hendricks, GroundUp, le 10/03/16 ;

“In a statement released a short while ago, the Trans Collective stated that its “role has now evolved into speaking back to RMF and keeping it accountable to its commitment to intersectionality precisely because it is positioned as a black decolonial space.”

Destructive Force: Vandals at the gate of culture, par Sean O’Toole, Times Live, le 29/03/16 ;

“David Goldblatt, the celebrated documentary photographer, is perturbed by the lack of cultural debate following a spate of vandalism targeting art at the University of Cape Town.”

Marrakech : Portraits Marocains du Studio Douamna – Collection Jean Marc Tingaud, par Marc Tingaud, L’Oeil de la photographie, le 7/03/16 ;

“Comme il les avaient ouvertes au début des années trente, le Studio Douamna a fermé ses portes, discrètement. De ses archives n’ont pu être sauvées que les images qui constituent cette collection On trouve aujourd’hui à sa place, dans la rue de la Bahia, un marchand de djellabahs…

(…) Ces images accidentellement exposées en vitrine pour attirer le chaland et démontrer un savoir faire étaient en fait destinées à vivre dans l’intimité familiale, à l’abri des regards étrangers. Ce fut la source de longues palabres avec le maître des lieux qui ne comprenait pas que je puisse tant m’intéresser à ces portraits au point de vouloir en prendre possession : « Ce n’est ni vous, ni quelqu’un de votre famille » s’étonnait-il. Et il fallut attendre quelques jours avant le déménagement de la boutique pour qu’il fût finalement convaincu de me les céder et que ces merveilles ne soient pas irrémédiablement détruites. Cette disparition programmée se transforma donc en résurrection…”

Photoshop

Kenyan woman edits herself into holiday photos with hilarious consequences, BBC, le 25/03/16 ;

“A woman from Kenya has edited herself into a series of other people’s holiday photographs on her Facebook page. (…) The photoshopped images were so bad that they’ve been liked thousands of times.”

Foires, festivals

Dubai Photo Exhibition 2016 : Afrique, L’Oeil de la photographie, le 16/03/16 ;

Projets

Nouveaux articles en ligne sur le site Trans African : Image of displacement, par Emmanuel Iduma, le 3/03/16 ;

African Lens – new photography from Africa, par , CreativeReview, le 3/03/16 ;

African Lens is a new magazine founded by creative director Aaron Yeboah Jr. which showcases work by African photographers working in the continent and beyond. Next month, Yeboah is set to move his 2dots Space studio to Ghana, having already published three issues of the magazine from his Louisiana base in the US. He then plans to exhibit African Lens in Ghana and South Africa later on this year.”

Qui aime bien, châtie bien : un malentendu que je souhaite dissiper, Fototalaw Kunnafoni, le 9/03/16 ;

“Passons à la problématique des stages. Ceux-ci sont souvent organisés par des associations occidentales, qui envoient au Mali des photographes animateurs pour une durée limitée, de quelques semaines, et parfois moins. (…)

À cause de la brièveté de leur séjour, ils privilégient le résultat à obtenir à tout prix, et négligent l’enseignement approfondi des techniques photographiques, dont la connaissance apporterait aux stagiaires l’autonomie en termes de technique et de création.”

Photojournalisme

Photojournalism Now : Why We Need Professional Photojournalists, par Alison Stieven-Taylor, L’Oeil de la photographie, le 3/03/16 ;

“Witness Change was officially launched in June 2015, but Robin has been working on long-term projects that address human rights abuses for more than a decade. In talking about his motivation for starting Witness Change, Robin says, “For years I’ve documented human rights abuses around the world. I hoped my work would improve the lives of people I photographed. Sadly, for most, life remained largely the same. Something was missing. I realized that if making a difference is my goal, to witness and hope is not enough; change must be at the center of what I do. Witness Change was formed by a group of people who refuse to believe things must remain as they are. It was born out of the belief that people care, stories are powerful, and change is possible”.”

Photographie historique

Elly Rwakoma: Photographer of presidents, par  Bamuturaki Musinguzi, The East African, le 19/03/16 ;

“Rwakoma’s life as a photographer of presidents came to an abrupt end during Idi Amin’s regime. He fell out with the powers that be when a picture of the president swimming in a pool was published in the international media.”

Les annonces du mois

Lekgetho Makola is the Head of Market Photo Workshop, source : site du Market Photo Workshop, le 10/03/16 ;

Prix et récompenses

Gideon Mendel awarded 1st Pollock Prize, Eyonart.org, le 17/03/16 ;

Santu Mofokeng wins International Photography Prize 2016, Art South Africa, le 8/03/16 ;

“On Sunday the 6th of March, the Fondazione Fotografia Modena announced that South African artist Santu Mofokeng won the International Photography Prize 2016, which this year focused on the theme of ‘Identity.’

Filippo Maggia, the Director of the Fondazione Forografia Modena, Roberto Pisoni, head of Sky Arte HD, and Carla Mainoldi, head of Group Giving, Events & Art Management at UniCredit, presented Mafikeng with the International Photography Prize, which includes € 70,000.”


2 réponses

  1. fototaa dit :

    Africa oggi, lo stato dell’Arte, entretien avec Simon Njami, par Stefania Ragusa, Sisters’ Grace, mars 2016
    http://www.sistersgrace.it/pages/simon_njami.html
    “Simon Njami, scrittore, critico e curatore di grande levatura, ci ha rilasciato questa intervista lo scorso marzo, a Modena, in occasione del Premio Internazionale per la Fotografia 2016, vinto dal fotografo sudafricano Santu Mofokeng.”

  2. fototaa dit :

    “Kenyan Photographer Suspends Reality With Portraits Of Nairobi’s Informal Economy Workers”, par Alyssa Klein, Okay Africa, le 18/03/16 ;
    http://www.okayafrica.com/news/tahir-carl-karmali-jua-kali-photos/
    “The photos from Kenyan visual artist Tahir Carl Karmali’s Jua Kali series are straight out of Mad Max, if Mad Max was in Nairobi and starred Kenyan artisans.”

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