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Revue de presse #52 – Juillet et Août 2017

Après une longue pause, la revue de presse de Fotota reprend du service ! Mettez-vous à la page en découvrant ces quelques informations, glanées tout au long de l’été, qui vous auront peut-être échappé. Et pour vous mettre en appétit, cette photo d’Abdo Shanan de collective 220 (Algérie). Abdo Shanan participe à l’exposition “Ikbal / Arrivées” proposée par le photographe Bruno Boudjelal, présentée cet été au MAMA (Musée public national d’art moderne et contemporain d’Alger) et actuellement à Paris, dans le cadre de la deuxième Biennale des Photographes du Monde Arabe Contemporain, à la Cité Internationale des Arts, du 12 septembre au 4 novembre. Bonne lecture !

Diary : Exile © Abdo Shanan, 2016.

ACTUALITÉS DES PHOTOGRAPHES

Street Photography: A Glimpse into Khartoum Architecture and Urban Design, par Zainab Gaafar, World Architecture, le 21/08/17 ;

Abdo Shanan’s Algerian Photographs, par Kaelen Wilson-Goldie, The Paris Review, le 16/08/17 ;

“Shanan belongs to a pivotal generation in the history of photography, the first to be born in a totally digital age, the first to move anachronistically from the flood of images online back to film, chemicals, equipment, and developing pictures in a darkroom.”

Interview: Abraham Oghobase, Degree Critical, Fall 2017, Entretien de Emmanuel Iduma avec Abraham Oghobase, MFA Art Writing, le 10/08/17 ;

“This is the first installment of three interviews between MFA Art Writing professor and alumnus Emmanuel Iduma and Nigerian artists Kelani Abass, Taiye Idahor and Abraham Oghobase. The artists were featured in the exhibition CCA Lagos at ISCP, at the International Studio & Curatorial Program (ISCP) in Brooklyn, NY.”

“Le Grand Palais n’aurait pas pu être construit sans l’exploitation coloniale de l’Afrique”. Entretien de Aminata Aidara avec Emeka Okereke, Africultures, le 08/08/17 ;

Emeka Okereke : “Je me questionne sur le mystère de la distance. La distance entre ce qui est central et ce qui est marginal. Il s’agit d’une construction. Pour ceux qui sont intéressés à la relation entre l’Afrique et l’Europe ou l’Afrique et le reste du monde, c’est important de comprendre comment nous avons construit ces relations.”

The world of photographer Osaretin Ugiagbe, par Anakwa Dwamena, Africa is a country, le 07/08/17 ;

“A collection of his photography and painted works are part of a show “Unbelonging,” at the Bronx Documentary Center on view until August 13th. “It is a diaspora feeling,” Ugiagbe explains about the show’s title, “it is a befitting title with the way things are going politically. Yet it also transcends race, gender, religion and politics.””

Dans les camps de refugies d’Algerie Fethi Sahraoui photographie les Mercedes, Libération, le 28/07/17 ;

A photo collection imagines the future of the Maasai people in space, par Abdi Latif Dahir, Quartz, le 27/07/17 ;

“Njeri’s photos come at a time when many African photographers and filmmakers are experimenting with science fiction and virtual reality to tell complex stories, using digital photo editing to comment on or reimagine historical narratives or social issues. For instance, last year, Kenyan photographer Osborne Macharia created The Kipipiri Four, a fictional project that was a tribute to the role women played in the Mau Mau rebellion in the 1950s, which ultimately ended Britain’s reign in Kenya.”

Sammy Baloji, dyptiques atypiques, Libération, le 27/07/17 ;

8ème jeux de la Francophonie/Concours de la photographie : Moussa kalapo expose « Le rock touareg, de la rébellion à la résistance », par Assane Koné, Notre nation, le 26/07/17 ;

8ème Jeux de la Francophonie : C’est Moussa Kalapo qui va représenter le Mali dans la photographie, par Assane Koné, Notre nation, le 26/07/17 ;

“(…) qui est Moussa Kalapo, jeune prodige de la photographie malienne qui ambitionne de mettre ses pieds dans le sillons tracés par des grands noms de la photographie mondiale comme ses compatriotes Seydou Keita et Malick Sidibé ?”

Paul Shiakallis, dures en cuir, Libération, le 25/07/17 ;

“I’m scared. But this work needs to be shown’: Zanele Muholi’s 365 protest photographs”, The Guardian, le 14/07/17 ;

“This work needs to be shown, people need to be educated, people need to feel that there are possibilities. I always think to myself, if you don’t see your community, you have to create it. I can’t be dependent on other people to do it for us.” It is a continuing resistance “because we cannot be denied existence. This is about our lives, and if queer history, trans history, if politics of blackness and self-representation are so key in our lives, we just cannot sit down and not document and bring it forth.”

In Cameroon, A New Platform for Emerging Photographers, podcast by AMET in conversation with Christine Eyene and Landry Mbassi, Contemporary And & Aperture, le 13/07/17 ;

“YaPhoto (Yaounde Photo Network) is a new platform for photographers and lens-based artists in Cameroon. Launched in 2016 in Yaoundé by two Cameroonians, artist and curator Landry Mbassi and art historian and curator Christine Eyene, the platform spotlights emerging photographers and exhibits their work both locally and internationally, starting with Tokyo in August 2017. “The idea of YaPhoto is to show what photographers are doing in and outside of Cameroon, and to provide a space for photographers to talk about their work,” Eyene said.”

PHOTOGRAPHIE : Moussa Kalapo, l’étoile montante de la photographie malienne !, Rue 223, le 12/07/17 ;

Tunisia and Algeria Highlighted in Second Biennial of Photography in the Contemporary Arab World, Baazar, le 11/07/17 ;

“The Institut du Monde Arabe (IMA or the Arab World Institute) and the Maison Européenne de la Photographie (MEP) will present the second edition of the Biennial of Photography in the Contemporary Arab World.”

“Membre fondateur de l’Union des Photojournalistes du Sénégal (Unpjs), créée en 2004, il en a été le Président. M. Gomis est aussi en 2004, responsable du département photographique du quotidien « Le Journal ». Il animait ainsi quotidiennement la rubrique « Arrêt sur image… » qui reflète le quotidien dakarois. Il l’a réédite en 2005 au journal « Walfadjri » sous une autre appellation: « Clin D’œil » et ce jusqu’en 2014.”

Panoramic in Moving Fragments or Mónica de Miranda’s Twin Visions of (Un)belonging, par Ana Balona de Oliveira, Buala, le 5/07/17 ;

“In the recent project Panorama (2017), Mónica de Miranda returns yet again to looking at modernist architecture in Angola.”

Arles 2017: BJP One to Watch Emmanuelle Andrianjafy, par Diane Smyth, British Journal of Photography, le 4/07/17 ;

“The Madagascan photographer won the prestigious MACK First Book Award with her series on Dakar – and is signing copies of Nothing’s In Vain at the Mack stand at Cosmos Arles Books on Saturday.”

EXPOSITIONS

Re-membering: Memory, Intimacy, Archive, Omenka, le 27/07/17 ;

“From August 15 to September 3, 2017, KZNSA Gallery will present Re-membering: Memory, Intimacy, Archive, a group exhibition featuring work by South African artists Reshma Chhiba, Sharlene Khan and Jordache A. Ellapen, from their projects titled Kali (2008) and The Two Talking Yonis (2013); When the Moon Waxes Red (2016); and Queering the Archive: Brown Bodies in Ecstasy (2016) respectively.”

Samuel Fosso: Self-Portraits, National Portrait Gallery, Londres, du 24/06 au 24/09/17 ;

“This display showcases self-portraits by the Cameroonian-born artist Samuel Fosso (b.1962). It includes work made in the 1970s alongside a body of new self-portraits made in 2015-16, which are being exhibited here for the first time.”

Kudzanai Chiurai: We Live in Silence, Omenka, le 13/08/17 ;

“From August 31 to October 14, 2017, Goodman Gallery Johannesburg will present We Live in Silence, a solo exhibition of work by Zimbabwean artist Kudzanai Chiurai, featuring new series of characteristically theatrical and politically charged works ranging from photographs, videos, drawings, paintings and installation.”

City In Transition, exposition d’Andrew Tshabangu à la Gallery Momo, Cape Town, du 20/07 au 19/08/17 ;

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness, Autograph ABP, Londres, du 14/07 au 28/10/17 ;

“In her first solo exhibition in London, South African visual activist Zanele Muholi (b 1972) presents her ongoing self-portrait series Somnyama Ngonyama.

In more than 60 photographs Muholi uses her body as a canvas to confront the politics of race and representation in the visual archive.”

YaPhoto@ Arakawa Africa, Tokyo, du 10 au 12/08/17 ;

“Arakawa Africa, OGU MAG and YaPhoto – Yaounde Photo Network, in collaboration with Making Histories Visible (University of Central Lancashire) are pleased to announce YaPhoto@Arakawa Africa, a three-day event on Cameroonian photography and video art from Africa and the Diaspora. Organised as a pre-event to Arakawa Africa, an annual art project bridging the African presence in Tokyo’s Arakawa ward with cultures from the continent, YaPhoto@Arakawa Africa will consist of a photography exhibition, video art screenings and an illustrated talk by Christine Eyene, co-founder of YaPhoto. The exhibition will feature Romuald Dikoume, Blaise Djilo, Max Mbakop, Steve Mvondo and Yvon Ngassam, five Cameroonian photographers never exhibited in Japan before.”

ANALYSES

“L’Afrique à travers mon œil de photojournaliste”. ENQUÊTE, par Marion Danzé / CFPJ Alternance, Le Point Afrique, le 11/08/17 ;

“Jeunes photojournalistes européens, ils couvrent l’Afrique. La restituent-ils en s’affranchissant des images d’Épinal et d’anciens récits ? Éléments de réponse.”

L’art Africain sur Twitter : entre enthousiasme et recherche de légitimité, par l’Observatoire des Afriques dans les réseaux sociaux, Medium, le 2/07/17 ;

IN MEMORIAM

In memoriam: Khadija Saye, Frieze, le 25/07/17 ;

ARCHIVES

Un site web pour la préservation du patrimoine malien, Bamako 360°, le 2/07/17 ;

“Moins connu que ses compatriotes Seydou Keïta ou Malick Sidibé, le malien Abdourahmane Sakaly, fut, durant les années 1960 et 1970, l’un des photographes les plus prolifiques de Bamako. Beaucoup de portraits portent sa marque et témoignent des courants culturels et sociaux maliens de l’époque. Aujourd’hui, son fils – Youssouf Sakaly – est le chef du projet Archive of Malian Photography. L’objectif est de réunir sur un site web les clichés de cinq photographes maliens : Abdourahmane Sakaly mais aussi Mamadou Cissé, Adama Kouyaté, Malick Sidibé et Tijani Sitou.”

PUBLICATIONS

The Best New Books on Contemporary African Art. The cradle of civilization bursts forth with brilliant books on contemporary African art, par Sara Rosen, Crave, le 24/07/17 ;

10 Photographers Who Celebrate Black Identity through Fashion, Dandy Lion: The Black Dandy and Street Style (2017), Aperture, le 19/07/17 ;

Delio Jasse, Cidade em movimento, Artphilein Editions, Lugano, 2017 ;

“Luanda is an exercise of memory. Being away for a long time has created different images of this metropolis in my mind.
The images of a remembered Luanda and the new images of the city are standing in front of my eyes and my camera.
It’s crowded, chaotic, surfaces and spaces merge together.
Post-colonial history overlaps with the past and with a new and fast history of progress.
These layers really interest me, not just as physical entities but also as memories and visions.” (Delio Jasse)

Maria do Carmo Piçarra et Teresa Castro, (Re)imagining African Independence Film, Visual Arts and the Fall of the Portuguese Empire, coll. Reconfiguring Identities in the Portuguese-Speaking World, Peter Lang ;

Raw Land. How are artists rethinking documentary in North Africa?, par Morad Montazami, en ligne et paru dans Aperture #227, Platform Africa ;

The Unsung Hero of South African Photography. In searing and poetic images, Andrew Tshabangu chronicles Johannesburg in the age of democracy, par Bongani Madondo, en ligne et paru dans Aperture #227, Platform Africa ;

ANNONCES DU MOIS

La liste des sélectionnés pour l’exposition panafricaine des Rencontres de Bamako est ici.

Dans la newsletter d’Ed Cross du 18 juillet dernier, on pouvait lire : “We are delighted to announce that Centre Pompidou have acquired ten works from the Growing in Darkness series by Mario Macilau for their national collection includingThe Shower purchased in its largest format (133 x 200 cm).”


OpenEdition vous propose de citer ce billet de la manière suivante :
fototaa (14 septembre 2017). Revue de presse #52 – Juillet et Août 2017. FOTOTA - Perspectives africaines en photographie. Consulté le 19 mars 2025 à l’adresse https://doi.org/10.58079/otj7


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