Revue de presse #53 – Septembre 2017
Retour sur septembre 2017 avec l’inauguration du Zeitz Museum à Cape Town qui a fait couler beaucoup d’encre, la Biennale des photographes du monde arabe contemporain à Paris, le portraitiste de studio Sory Sanlé exposé à Londres et les annonces des biennales de Lubumbashi et de Lagos qui viennent d’ouvrir leurs portes à l’heure où cette revue de presse paraît… Et, pour démarrer en beauté, un entretien avec David Goldblatt et la Une de Daylin Paul, photojournaliste indépendant basé à Johannesburg, récipiendaire du Prix Ernest Cole 2017 pour son travail documentaire “Broken Land”.
Oct. 25, 2015: John Dlamini (63), a former rock drill oprerator, worked in the mines for over 20 years. He is standing in Winkelhaak Cemetery in Evander, Mpumalanga, where he says many gold miners who died of respiratory disease and injuries, were buried in unmarked graves. He also said that the roofs of the hostels in the background were removed when the mine was closed, to force miner who were living there to move out. Photo: Daylin Paul
ACTUALITÉS DES PHOTOGRAPHES
Picture Protest. Interview with David Goldblatt, par Paul Clinton, Frieze, le 28/09/17;
“David Goldblatt discusses representation, censorship and his decision to remove his archive from the University of Cape Town.”
Lazhar Mansouri, le témoin d’une certaine Algérie, par Leila Assas, Babzman, le 17/09/17;
The story is always more important than the picture, par Daylin Paul, Africa is country, le 14/09/17;
The global concerns of southern African photography, par Oyedepo Olukotun,
Between moment and emotion, Visual Identity lifts photography in Lagos, par Tajudeen Sowole, The Guardian (Nigeria), le 6/09/17;
Entrevista Kiluanji Kia Henda. Artista angolano conversa a respeito da série de fotografias In The Days of a Dark Safari e reflete sobre a cena artística de seu país, par Luana Fortes, Select, le 4/09/17;
PHOTOGRAPHIE HISTORIQUE
The photos that changed history, par Fiona Macdonald, BBC, le 14/09/17;
“Ian Berry was the only photographer at the Sharpeville massacre in March 1960. In the first of a new video series on BBC Culture, Through the Lens, he relives the event that marked a defining moment for the anti-apartheid movement in South Africa.”
Photo : l’art du portrait de Seydou Keïta et Malick Sidibé
EXPOSITIONS
Hassan Hajjaj brings colour to Somerset House, par Alex Jackson, The British Journal of Photography, le 28/09/17;
Sory Sanlé’s Burkina Faso portraits go on show in London, par Diane Smyth, The British Journal of Photography, le 15/09/17;
Claude Iverné: Bilad es Sudan – September 15 – November 09, 2017, Aperture, non daté;
—Biennale des photographes du monde arabe contemporain—
Quatre expo à ne pas rater à la 2e Biennale des photographes du monde arabe contemporain, par Adrien Pontet, Les Inrockuptibles, le 19/09/17;
“Événement artistique majeur de la rentrée, la seconde Biennale des photographes du monde arabe contemporain accueille jusqu’à mi-novembre une cinquantaine de photographes dans huit lieux différents d’exposition. Focus sur quatre d’entre eux.”
Regards algériens, Arte Journal, reportage de Richard Bonnet, le 15/09/17;
À propos de l’exposition “Ikbal / arrivées” à la Cité internationale des arts.
Biennale des photographes du monde arabe: l’Algérie et la Tunisie à l’honneur, par Siegfried Forster, Rfi,
The Biennial of Photography in the Contemporary Arab World | A second edition raising questions, par Henri Robert, Happening, le 14/09/17;
“What are we? Where are we going? What will our society become? These are the questions addressed by the photographs featured in the second edition of the Biennial of Photography in the Contemporary Arab World — questions that resonate with the recent history of several Middle East countries — and especially those of Maghreb.
This year’s edition of the biennial is not only outstanding, but also very diverse: the event held at Paris’ Arab World Institute (and several other satellite locations), organized in collaboration with the Maison européenne de la photographie, (MEP) features both emerging and more established artists — 50 in total — in what is “an exploration of the Contemporary Arab World through the eyes of both Arab and international photographers”, in the words of curator Gabriel Bauret.”
La commissaire de la deuxième Biennale des photographes du monde arabe contemporain à l’Institut du Monde Arabe Olfa Feki nous dit tout sur cette exposition (VIDÉO), Rédaction du HuffPost Tunisie, le 13/09/17;
Biennale des photographes du monde arabe contemporain, Paris Art, non daté;
PARUTIONS DU MOIS
« Ils l’appellent l’Afrique, nous l’appelons notre maison » : découvrir des clichés du continent, par Katia Touré, Jeune Afrique, le 30/09/17;
“Diane Audrey Ngako invite des internautes à partager les clichés de leurs voyages sur le continent africain. L’album regroupe plus de 100 000 photos et 150 cartes postales. « Ils l’appellent l’Afrique, nous l’appelons notre maison ». C’est le titre, en français, de cet ouvrage collectif conçu par la Camerounaise Diane Audrey Ngako. Il s’agit d’une émanation de la plateforme collaborative visiterlafrique.com, lancée en juin 2014, dont elle est la fondatrice.”
Sory Sanlé : Volta photo 1965-85
Published by Reel Art Press/Morton Hill
ISBN: 978-1-909526-52-5
80pp; 35+ b&w photographs
LES ANNONCES DU MOIS
Lubumbashi sous le feu des éblouissements, par Marynet J, IAM, le 22/09/17;
“À Lubumbashi, la cinquième Biennale d’art contemporain se prépare. Dans quelques semaines la ville phare du Haut-Katanga à l’Est de la République Démocratique du Congo se verra remuée par les événements. Le ton est donné, « Éblouissements » . Pendant plus d’un mois, du 7 octobre au 12 Novembre 2017, les œuvres d’artistes internationaux et locaux s’articuleront autour de ce thème inspiré par les écrits de Joseph Tonda, essayiste gabonais. Au cœur d’une rencontre majeure de l’art contemporain sur le continent, qu’en sera-t-il du regard que les artistes porteront sur les dynamiques particulières de la RDC et de la place des artistes femmes ? Echange avec le commissaire d’exposition Toma Muteba Luntumbue.”
Announcing the 24th Moving Walls Exhibit, Here We Are: Visual Resistance and Reclaiming Narratives, par
“The Open Society Documentary Photography Project is pleased to announce our upcoming exhibition, Here We Are: Visual Resistance and Reclaiming Narratives, the 24th iteration of Open Society’s ongoing Moving Walls exhibition series.
Here We Are brings together 10 individual and collective artists, journalists, documentarians, and advocates who engage with art and documentary practice as forms of resistance. Together they confront and challenge our understanding of past trauma, present-day realities, and future possibilities within the context of race, religion, sexuality, political and economic repression, and colonial history.”
From Maize to Museum: The Long-Awaited Zeitz Museum of Contemporary Art Africa Aims to Let the Continent Tell Its Own Story, par , ArtNews, le
“Consider contemporary Cape Town: On the one hand, the so-called Mother City, famous for its dramatic vistas, good food, and chill beach vibe, is trendier than ever, welcoming upwards of a million tourists each year. On the other, the legacy of apartheid remains: Khayelitsha, a partially informal township on the Cape Flats and one of the poorest areas in Cape Town, is still home to 2.4 million people of whom nearly 100 percent are black and young, and some half of whom live in shacks; every day, tourists visiting the Robben Island Museum take a bare-bones bus from Nelson Mandela’s onetime jail cell to a rocky outcrop where the gulls’ squalls convey a feeling of intense loneliness. Two years ago, Marion Walgate’s 1934 statue of British imperialist Cecil Rhodes on the University of Cape Town campus was at the center of a protest dubbed Rhodes Must Fall. A vote brought the statue down, but tensions still simmer. Last year, students tore down 24 artworks from university walls and burned them. “I got why they did it,” a student at Cape Town’s Michaelis School of Fine Art told journalist Sean O’Toole a few months after the incident. “People preach transformation, but you are constantly reminded of how things have not changed.””
“Living on the Edge”. Participating Artist announced for the 1st edition of Lagos Biennial 2017, C&, le 5/09/17;
“The inaugural edition of the Lagos Biennial will be held from the 14th October to 22nd November 2017.”
Applications now Closed! – CPE Workshop #4: Training and Mentorship Project
“Looking back at history and thinking of the visual space that Ethiopia occupied in the minds of many, one can see the urgency and importance of letting young photographers develop and tell their own stories. Although the photography medium has not been very popular in the country, more and more youth are now practicing it. Through your new voices, we believe that history can be rewritten, boundaries can be pushed and contemporary dialogues created.
Through your stories, we hope to look into the concept of memory, identity, history, archives and architecture. The objective of your work can be to inform, to provoke, to create dialogues, to question or to respond but whatever it is that you have in mind; this mentorship will be a good time to try and express it through photography.”
democraSEE is an award and mentorship platform to develop and show important contemporary photography stories and content from the Southern African region that deal with social and political issues and imaginaries. It wants to create a space to acknowledge photographers and photography’s role and position in relation to the world. Furthermore, it aims to support the growth of visual languages in photography.
Photographers from Southern Africa, including Angola, DRC, Tanzania and Madagascar can enter the awards.
democraSEE is a project of Photo:, supported by the Department of Arts and Culture in South Africa as well as the National Arts Council in South Africa and the Photography Education Trust.
First call deadline: 10 October 2017
OpenEdition vous propose de citer ce billet de la manière suivante :
fotota (16 octobre 2017). Revue de presse #53 – Septembre 2017. FOTOTA - Perspectives africaines en photographie. Consulté le 9 octobre 2024 à l’adresse https://doi.org/10.58079/otja
Sur Kadara Enyeasi, jeune étoile montante de la photographie nigériane, lire https://www.zammagazine.com/perspectives/blog/557-q-a-with-kadara-enyeasi et http://www.sleek-mag.com/2017/09/19/kadara-enyeasi-unseen-photographer/
Kadara Enyeasi’s work was on show at UNSEEN Photo Festival in Amsterdam, from 22 – 24 September.