Revue de presse #42 – Septembre 2016

Un mois de rentrée bien chargé et déjà l’automne, saison des foires, des publications et des prix. Bref, une revue de presse des plus roboratives. Avec une mention spéciale à Girma Berta (@gboxcreative), membre de @everydayafrica, qui avec ses photos de rue dans Addis-Abeba a reçu une bourse Getty Images Instagram.

ACTUALITÉ DES PHOTOGRAPHES

L’Algérie dérobée du photographe Bruno Boudjelal, par Dorothée Myriam Kellou, Orient XXI, le 30/09/16 ;

“Le regard extérieur semble inquiéter, on continue de s’en méfier, de s’en protéger. La mémoire de la colonisation, du regard posé sur les Algériens, sur celui que l’on a fabriqué comme Autre, étrange, exotique, menaçant, différent, des clichés que l’on a forcés ou volés, cette mémoire de l’intrusivité n’est peut-être pas si loin. « À moins de travailler dans un endroit fermé avec l’accord des gens, impossible de photographier » répète-t-il. Et pourtant il faut le faire, car à ses yeux, l’Algérie a un « rapport lacunaire avec elle-même ».”

The photographer deconstructing white privilege in South Africa. Race in the Rainbow Nation, par Alex King, Huck, le 29/09/16 ;

“Alice Mann created a storm when she photographed her own wealthy suburban community in Cape Town and revealed the black domestic workers who enable their lives of luxury.”

(…)

“Alice is proud of the debate generated by her work, but was taken aback by the intense scrutiny and criticism of her work from all sides – the consequence of setting foot in to the burning cauldron of South African racial politics. But ultimately, the controversy has taken the conversation forward. Even among her white subjects who chose to withdraw their images from the project to avoid being associated with the idea of white privilege, it’s much harder to ignore the fact that it is real.”

Photographing Lagos, ‘As Much an Experience as a Place’, par Robin Hammond, Lens. The New York Times, le 22/09/16 ;

“There are infinite ways to see and experience this city, of course, so don’t get this book expecting to know Lagos by paging through it. There is no real, true knowing of a place like this. Expect, instead, the Lagos one photographer came to know and love. And what did I find? In the ugly, I found beauty; in the chaos, form; and in the voices of the people I met, I found my Lagos.”

Portraits of the 30,000 Somali Diaspora in Minneapolis, America, par Donatella Montrone, British Journal of Photography, le 12/09/16 ;

“I wanted to show what the community is really like day-to-day,” says Nazaryan. Having experienced Somalia’s rich, tightly knit culture during his time in Mogadishu, he wanted to show the real heart of the community, something removed from the media frenzy surrounding its associations with piracy and terrorist activity.”

Black Social Photography in South Africa: Before & After, par Edward Kgosidintsi, Okay Africa, le 5/09/16 ;

“The objectification of the black body is still a prominent feature of sub-Saharan African documentary photography, especially in South Africa where a white lens remains surgically stitched onto our nation’s face. (…) The voyeuristic nature of white photography in this country is a symptom of its privilege. The white documentary photographer is a voluntary tourist of the black experience, window-shopping through the pain and capturing the most aesthetically pleasing moments.”

Voyage : trois comptes Instagram de jeunes femmes africaines à suivre, par Eva Sauphie, Jeune Afrique, le 12/09/16 ;

PHOTOGRAPHIES HISTORIQUES

Malick Sidibé (ca. 1936–2016), par Leora Maltz-Leca, Art Forum, le 21/09/16 ;

“In this sense, Look at Me is a negative demand: to stop reading me through you, through your projections. The call for Africa to not merely be a mirror of Western narcissism has underpinned postcolonial critiques for the last thirty years. But is it possible for us to surmount our own egos in this way?

Some would say not. That the image is always a mirror. That interpretation is always projection. Nonetheless, this is the challenge Sidibé’s legacy throws out to us. Never has the demand to see beyond ourselves been more urgent. Regardez-moi! the photograph calls out. Again.”

Celebrating James Barnor – the first photographer to shoot Ghana in colour, The Guardian, le 22/09/16 ;

Photo : être noir pendant la période victorienne, Le Monde.fr avec Reuters, le 14/09/16 ;

“Une exposition rare de plus de 40 photographies originales, à la National Portrait Gallery à Londres, offre un aperçu de la vie complexe des personnes noires vivant en Grande-Bretagne entre 1862 et 1948.”

Mise en ligne des photos du fonds Gallieni (ANOM), par Violaine Tisseau, Histoire des sociétés de l’océan Indien occidental. Afrique orientale, Madagascar (blog Hypothèses), le 5/09/16 ;

Photographie : l’Afrique d’antan ressuscitée par la Fondation Albert Kahn, par Matthieu Kairouz, Jeune Afrique, le 5/09/16 ;

Interview de Franck Ogou : des photos pour remettre en cause les clichés sur les Africains, par Alix Joly, ActuPhoto, le 2/09/16 ;

PHOTOJOURNALISME

The importance of being there, par Marco Longari, AFP blog, le 6/09/16 :

“When I got to Gabon to cover the recent election, I found myself the only photographer from a major global news organization in the country. People ask — why bother covering yet another election and unrest in yet another African country? I tell them – how can we not? This is where Africa’s modern history is unfolding. If we are going to tell the story of Africa, of the narratives that are taking place on the continent, then we cannot back off from coming to places like these.”

L’auteur détaille le pour et le contre du fait de couvrir seul les élections au Gabon, mais aucune mention n’est faite des photographes travaillant sur place…

PARUTIONS

Looking at White Privilege Under Apartheid, par Finbarr O’Reilly, Lens. The New York Times, le 14/09/16 ;

““In Boksburg” (…) is being republished this month by Steidl. “In Boksburg” offers a sober view of a bygone era of legislated white privilege, depicting what Mr. Goldblatt called the “wholly uneventful flow of commonplace, orderly life.” The photographs reveal that life for small-town, middle-class whites in South Africa was much as it was elsewhere, only with apartheid looming behind it.”

Marie Chominot, Regards sur l’Algérie (1954-1962), avec une préface de Benjamin Stora, Coédition Gallimard / Ministère de la Défense, Albums Beaux Livres, Gallimard. Parution : le 22/09/16 ;

“Pendant la guerre d’Algérie (1954–1962), les photographes du Service cinématographique des armées (SCA) ont produit des milliers de clichés, souvent diffusés dans la presse de l’époque et aujourd’hui largement reproduits dans les livres d’histoire. Des soldats possédant un appareil photographique ont également fixé dans une pratique amateur ce que fut leur expérience du conflit. Les témoignages de quatre d’entre eux, Marc Flament, Arthur Smet, Claude Roudeau et Dominique Mestrallet, engagés ou appelé pour le dernier, donnent à voir, parfois de manière inédite, les opérations militaires, la vie quotidienne dans les grandes métropoles du Nord, mais aussi en Kabylie, dans l’Oranais ou sur les Hauts-Plateaux. Présentées et commentées par Marie Chominot, ces remarquables photographies permettent d’appréhender différemment la guerre d’Algérie.”

FOIRES

In Amsterdam, Predicting the Future of Photography, Aperture blog, le 12/09/16 ;

“We are also creating a project at the fair site that hones in on the future of African portraiture. There has been a recent resurgence in the presentation of African portraiture within the photography community, especially through the work of masters such as Malick Sidibé and Seydou Keïta. We want to show what emerging artists on the African continent are currently doing with portraiture. Some of these artists, such as Pierre-Christophe Gam, reference African photographic heritage but interpret it in their own completely different ways. Others have looked at the portrait in novel ways, not looking back at past practitioners. Their work raises the question: Is there such as thing as “African portraiture”? The project Face to Face, cocurated by the magazine OFF the wall, invites seven artists to Unseen to run a pop-up studio, including Atong Atem, Delphine Diallo, Laila Hida, Lebohang Kganye, Louis Philippe de Gagoue, Pierre-Christophe Gam, and Zanele Muholi, who will take portraits of visitors.”

PRIX

Meet This Year’s Getty Images Instagram Grant Winners, par Ryan Grenoble, The Huffington Post, le 19/09/16 ;

“Thanks to the ubiquity of smartphones, those photographers cover a wide and growing portion of the world, allowing unprecedented access to communities that might otherwise go unnoticed.

In honor of those photographers, Getty Images last year launched the “Instagram Grant,” a program “designed to recognize and support photographers documenting stories from underrepresented communities around the world using Instagram.” The three winners of the grant receive $10,000 and mentorship from one of Getty Images’ photojournalists.”

L’Afrique du futur vue par les Africains : trois photographes récompensés par la fondation Mo Ibrahim, par Matthieu Kairouz, Jeune Afrique, le 6/09/16 ;

“Habitué à récompenser les chefs d’États africains pour leurs efforts entrepris en faveur d’une bonne gouvernance, la fondation Mo Ibrahim vient de décerner ses premiers prix pour le projet photo My Africa. Le thème ? L’Afrique du futur vue par les Africains.”

LES ANNONCES DU MOIS

Everyday Africa – The Book / Kickstarter campaign

“A photobook of Everyday Africa, the Instagram project transforming the way people view daily life on the continent.

(…)

With your help, we are creating our first book, featuring the work of 30 contributing photographers! The book will be a collection of over 250 photographs, chosen for the fascinating ways they make the mundane beautiful all over the continent.

It will also feature samples of the Instagram comments that were sparked by some of the images. We have found that these conversations, arguments, and moments of sharing — innocuous or funny one moment, paternalistic or caustic the next — help us celebrate local norms and global commonalities, while offering deeper layers of insight into our misperceptions of this part of the world.”

Bringing @EverydayAfrica to the Printed Page, par Kwesi Foli, Lens. The New York Times, le 20/09/16 ;

Call for Applications: World Press Photo Foundation, Masterclass East Africa

“The masterclass aims to support the most promising young visual journalists in their professional development and will take place in Nairobi, Kenya, from 28 November to 2 December. The deadline to submit your application is 25 September.”

FNB JoburgArtFair 2016 Focus: East Africa

“FNB JoburgArtFair Curator, Lucy MacGarry explains that, “East Africa is a vast geographical area with varied and often disparate social and creative perspectives and sensibilities. This year’s curatorial intervention will give audiences a first step towards engaging in artistic developments and narratives arising from the region. Presenting both emerging and world-acclaimed artists, galleries and non-profit organisations our intention is to provide a catalyst for on-going research, transnational dialogue and future projects of significance. ””

YaPhoto: Cameroon’s new photography platform, C&, le 5/09/16 ;

“YaPhoto – Yaounde Photo Network is dedicated to promoting photography and lens-based practices including video and new media arts. ”

YaPhoto annonce son édition pilote

“Centré sur l’idée de forme « lisible », Ce que nous voyons entend s’ouvrir d’un système d’écriture à l’autre: de la photo-« graphie » au texte. Inspiré d’une recherche en cours sur les liens entre la littérature africaine et le champ visuel, le projet s’atellera à créer un pont entre image et imagination en y associant l’écrit, non comme outil didactique mais comme une autre manière de voir. À cet effet, YaPhoto s’efforcera de développer une série de collaborations entre photographes et jeunes auteurs camerounais.”

ART X Lagos: Introducing Africa’s Destination for Contemporary Art, par Iquo DianaAbasi, Olisa.tv, le 7/09/16 ;

“TP-Collective is pleased to announce the first edition of ART X Lagos, a new art fair designed to widen Nigeria’s connection to the contemporary art scene across Africa and internationally.

(…) Artistic Director of ART X Lagos, Bisi Silva, says: “I am extremely excited to be part of this pioneering initiative. I believe this art fair can become one of the key ways in which we begin to develop and internationalise the art sector in Africa as well as add value to the incredible work that is being created across the continent.”

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