Revue de presse #63 – Été 2018
Hommage à Sophia Baraket partie à l’âge de 35 ans, par Raouia Kheder, Femmes de Tunisie, le 19/07/18 ;
Hommage : Sophia Baraket, fondu au noir, par Adnen Jdey, Nawaat, le 21/07/18 ;
Sophia Baraket, photoreporter: l’évidence d’un parcours, par Antoinette Delafin, RFI,
DES NOUVELLES DES PHOTOGRAPHES
Landry Mbassi : «Les Rencontres d’arts visuels s’ouvrent aux mécènes et sponsors», propos recueillis par Patricia Ngo Ngouem, ICI Cameroun, le 12/07/18 ;
The Believers: Sabelo Mlangeni’s ‘Umlindelo wamaKholwa’ – Sabelo Mlangeni, par Nolan Stevens, Artthrob, le 17/07/18 ;
Lassy King Massassy : « Le Mali, une démocratie qui marche à cloche-pied », propos recueillis par Agnès Faivre, Le Point Afrique, le 25/07/18 ;
A Nigerian Photographer’s Portraits Of The Mind, par Diane Cole, NPR, le 29/07/18 ;
Etinosa Yvonne Osayimwen’s goal is to get inside her subjects’ heads. The self-trained, 28-year-old documentary photographer does just that by using a double-exposure technique. She takes portraits of Nigerian survivors of violence and terrorism — then superimposes it with an image of something that reminds them of how their lives have changed. (…) In July, the Nigerian was awarded a grant by Women Photograph to pursue her project, « It’s All In My Head. »
Matar Ndour, ethno-photographe atypique des expressions culturelles, par Saliou Dallio, Ndukur, le
Sérénité virtuelle par Alun Be, Libération, le 2/08/18 ;
Telling the story of Dakar with photography, African Voices,
« Emmanuelle Andrinjafy is an engineer-turned photographer who tells the story of Senegal with her portraits of its streets, landscapes and people. »
The Story of Kenyan photographer Priya Ramrakha, par Erin Haney et Shravan Vidyarthi, Africa is a Country, sans date ;
From The Archive of Priya Ramrakha, Newest York, sans date ;
Snapshots of the 1960s, entretien avec Shravan Vidyarthi par Veronica Kim, World Policy, le 9/07/18 ;
Shravan Vidyarthi: (…) Priya started photographing probably around age 15, and from that point in time until his death, he covered the freedom struggle in Africa, the Mau Mau revolt in Kenya; he made his way to the U.S. and covered Martin Luther King, Jr. and the Nixon-Kennedy campaign in 1960; he was in New York working for Life magazine. He really moved around and covered a massive amount of ground, which was interesting because it was really unusual for African photographers to be doing that back then. African photographers have been written about from that period, but a lot of them worked in their studios—or if they were photojournalists, they worked in their home countries. They just couldn’t travel around as much, whereas Priya, because he had a British passport as a result of Kenya’s colonial heritage, was able to move around more.
At the same time, he worked for Life magazine, which may not have had the most nuanced point of view in covering Africa or other foreign regions, because Life was really a picture magazine that was made to sell; it was a money-making enterprise in addition to being a massive news magazine. In some way, Life had to feed viewers with what they expected to see in Africa. It’s been fascinating to look at the complexity of how Priya got caught up in that too.
The Elegant Senegal – in pictures, The Guardian, le 4/07/18 ;
Exposition du photographe Mama Casset in the 1950s et d’un photographe inconnu au Círculo de Bellas Artes de Madrid, jusuq’au 26 août 2018.
LES ANNONCES DE L’ÉTÉ
Everyday Africa is a collective of photographers living and working in Africa, finding the the extreme not nearly as prevalent as the familiar, the everyday. We are the first of the The Everyday Projects (everydayprojects.org), a global network of storytellers using photography to challenge the stereotypes that distort our understanding of the world. We are creating new generations of storytellers and audiences that recognize the need for multiple perspectives in portraying the cultures that define us.
We are currently seeking additional African contributing photographers who will post to the @everydayafrica Instagram feed; whose work will be displayed in future exhibitions and photography festivals and featured in future books and publications; and who can contribute additional ideas for group projects, partnership in our photography and educational programming, and other creative ventures.
The deadline to apply is September 12.
2018 Arab Documentary Photography Program, la liste des 9 lauréats est ici.
Women Photograph Announces 2018 Grant Recipients, par Samantha Clark, NPR, le 9/07/18 ;
« For this year’s grants, Women Photograph received nearly 1,500 applications. The Women Photograph + Nikon grants of $5,000 went to Tasneem Alsultan, Anna Boyiazis, Jess T. Dugan, Ana Mara Arevalo Gosen and Etinosa Yvonne Osayimwen. The Women Photograph + Getty Images grant of $10,000 went to Nadia Shira Cohen. »