Telling Time. Elle invite les artistes à interroger la notion de temps afin de proposer de nouvelles manières de penser le passé, débattre du présent, et imaginer le futur. Sans leur soutien, il aurait été impossible de porter la Biennale pendant toutes ces années. The next edition, the 10th, will take place in Bamako from 31 October to 31 December The exponential increase in candidates for this edition a total of applications compared with for the last edition shows just how impatient artists on the African continent have been for the Encounters to return.
Bisi Silva is artistic director for this 10th edition of the Bamako Encounters and she is ably supported by her associate exhibition curators, Yves Chatap and Antawan I.
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She invited participating artists to reflect on the notion of time as a means of suggesting new ways of thinking about the past, discussing the present, and imagining the future. I should like to pay tribute here to the commitment and generosity of this independent exhibition curator from Nigeria. Bisi Silva chose to be accompanied by Antawan I. Byrd and Yves Chatap as Associate Curators. I should also like to thank the Institut français, who have been our partners for 20 years and who are co-producers, with us, of the Biennale.
Thanks also go out to all the partners who have supported us in the organisation of the Bamako Encounters. Without their valued support we could never have sustained the Biennale through all these years. This policy revolves around heritage and creativity, now with a can-do approach aimed at getting private operators involved and making culture an engine for economic and social development. Cette coopération culturelle entre nos deux pays est ancienne et forte. Il contribue au dialogue des cultures et anime des communautés professionnelles dans chaque secteur de son activité.
Only a few years ago African artists were disturbingly absent from major international events; now, in the galleries and auction rooms, real progress is visible. This tradition of cultural cooperation between our two countries is a strong, long-standing one.
And with the organisation of this tenth edition, after a break going back to , we restate today our commitment, alongside Mali, to the holding of the Rencontres de Bamako. Anne Tallineau Director General of the Institut français. To support cross-cultural dialogue, it helps develop professional communities in the sectors it works.
Tandis que des artistes comme Malala Andrialavidrazana, Seydou Camara et George Mahashe utilisent des archives pour questionner les traditions culturelles et historiques, le Collectif Perinium, Georges Senga, Aboubacar Traoré ou Mudi Yahaya déploient des stratégies de reconstitution et proposent des récits qui réinventent des futurs possibles.
Nous découvrirons par exemple les pratiques photographiques lusophones. Bisi Silva, Directrice artistique Antawan I. Byrd, Commissaire associé Publications et projets spéciaux Yves Chatap, Commissaire associé Exposition et projets spéciaux. Historically, photographic images have been routinely interpreted as refractions of time and space relations, serving to advance visual arguments about the particularities of a given reality. Within this context Telling Time presents a nuanced array of lens-based projects that differently upend and reframe conventional interpretations of time through discrete structures of past, present, and future.
The artists assembled use photography, film, video and animation to construct perspectives on time that are fragmented, disjunctive, or recursive in nature, offering alternative methods of engaging histories, experiences, and desires. While artists such as Malala Andrialavidrazana, Seydou Camara, and George Mahashe use archives and material traces to interrogate cultural traditions, the Collectif Perinium, Georges Senga, Aboubacar Traoré and Mudi Yahaya deploy strategies of reenactment and fabulation to reimagine histories and possible futures.
The concept of time in Africa has been the subject of popular and philosophical debates concerning political and technological belatedness, questions of colonial temporalities characterised by their links with the rise of capitalism, as well as the interventions made by liberation movements in radically deconstructing colonial time through projects of freedom, independence, and the development of civic identity.
Yet the selected artists position these debates and histories as incomplete and ongoing, intervening through topical investigations on recent sociopolitical conflict as foregrounded in the practices of artists including Jean-Euloge Samba and Hippolyte Sama and through thematic studies of built environments as evidenced in the work of Helga Kohl, Filipe Branquinho, and Simon Gush.
In addition to presenting a pan-African exhibition consisting of thirty-nine selected artists from an international call, the Biennale will also comprise several monographic and thematic exhibitions that open up the discursive possibilities around the notion of time including projects dedicated to honouring the 10th anniversary of the Biennale, a focus on Lusophone lens-based practices, and a programme of workshops and panels.
Elle a bénéficié de plusieurs prestigieuses bourses et résidences internationales. Antawan I. Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals and has been the recipient of several prestigious international fellowships and residencies.
Byrd, is a doctoral candidate in Art History at Northwestern University in the United States focusing on modern and contemporary art of Africa and the African Diaspora. Yves Chatap is an independent curator writer, art critic and researcher on contemporary African photography. Elle donne lieu à une rétrospective sur les éditions passées. Cette approche permet de créer un lien entre le passé, le présent et le futur du continent.
La directrice artistique Bisi Silva, avec les commissaires associés Antawan I. Cette année, un nombre record de dossiers a été reçu, en provenance des 54 pays africains et de la diaspora: There will be a retrospective focus on past editions. The artistic project is constructed around the narrative of Time. Photographers are invited to create a narrative of Africa, not through a view of things on the surface but, rather, through the way they use the image to delve into the reality of their time.
The approach is designed to rethink the link between the past, the present and the future of the continent. As an approach, it is perfectly suited to deal with the recent upheavals experienced not only in Mali, but also in North Africa with its Arab Springs and, more recently, in Burkina Faso. Byrd and Yves Chatap, hopes to create a fresh view of the creation of photography and video as practised in Africa. There are both documentary and artistic works, as well as forms closer to installations.
A lot of the work is sourced in film and picture archives. Humour abounds and there is no lack of selfcriticism on the part of the artists — both of themselves and their countries. The religious question arises in a curious and subtle fashion in the works to be displayed, bearing in mind the crisis reigning over the continent at the moment. The Bamako Encounters is organised around an international exhibition with artists chosen from a call for applications.
This year a record number of dossiers were received from the 54 African countries and the diaspora: Byrd, Yves Chatap. Grâce à des stratégies telles que: Through strategies including archival investigation, performance and fabulation, reportage and historical archaeology, the artworks presented offer a multiplicity of perspectives from which to question why the concept of time remains so integral to the ordering of human experience—even as recent sociopolitical experiences render time itself as fragile and precarious.
Telling Time also includes glowing hommage presentations on the work of the Malian artist Bakary Diallo and the South African artist Thabiso Sekgala On this occasion, the artists invite us to consider the ephemeral nature of our bodies.https://rahotabcacom.tk
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In the end, do our actions and our behaviours mark our physiognomy to the point that they become a nostalgic form, a mirror reflecting the effects of the passage of time? Their multiple and at times fractured visions are compositions that can only be read through a narrative framework and perspective provided by the observer. Bisi Silva Reconnu internationalement pour ses éblouissantes photographies de coiffes, les gele, et coiffures nigérianes néo traditionnelles, le photographe nigérian J. Internationally revered for his stunning photographs of Nigerian neo-traditional hairstyles and headdresses known as gele, Nigerian photographer J.
Byrd, Yves Chatap La rétrospective réunira des documents iconographiques de différentes natures. Dans le cadre de leur projet de publication pour cette exposition, les commissaires collaborent avec la revue photographique OFF the wall, cultures photo.
This retrospective reunites documents of a diverse nature. As it retraces the history of the African Biennale of Photography since its creation in , Re generations puts the spotlight on the festival and its various mutations, while at the same time instigating a dialogue on the possible futures of the event. This exhibition also examines the very space of the biennale itself as a potential archive for memories. La recherche esthétique de chacun des artistes trouve une résonnance dans la faculté à transfigurer certaines problématiques actuelles. Les artistes ont imaginé des fictions à travers lesquelles ils nous interpellent sur les notions de territoires et les possibles identités à partir desquelles chacun peut reconsidérer sa vision du futur.
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Artistes invités: To The Future and Back opens new pathways for imagining the future and beyond. The aesthetic explorations of these artists find resonance in their ability to transfigure certain contemporary problems. The artists have imagined fictions that challenge our notions of territory and question the possibilities of identity as a means of making us reconsider our vision of the future. Invited Artists: Cette exposition de groupe fait le point sur la manière dont les photographes sud-africains contemporains se saisissent de la question du temps après deux décennies de démocratie en Afrique du Sud Bisi Silva, Antawan I.
Le film expose et déconstruit les liens entre mémoire, temps, et conventions du récit. Best known for his investigations of apartheid and colonialism through highly versatile drawings and animated films, the South African artist William Kentridge has been invited to the biennale to present the video work Second-hand Reading Featuring a musical score by Neo Muyanga, in this stunning flipbook film Kentridge appropriates the pages of an encyclopedia by using it as the support for drawings in Indian ink, graphic designs, and text sequences.
As divergent animation sequences unfurl across riffling book pages, the film foregrounds and deconstructs the relationship between memory, time, and conventions of storytelling. Bisi Silva. Invité dans le cadre du Focus lusophone proposé par la Biennale, Ayrson Heraclito, de Salvador de Bahia, présente la série photographique Bori et la vidéo Funfun Invited as part of the Lusophone focus developed for the biennale, Ayrson Heraclito, from Salvador de Bahia, will present his photographic series Bori and video work Funfun Through the use of mainly organic materials such as salt, sugar, meat and palm oil, the artist imbues banal and everyday foodstuffs with dense layers of historical and cultural significance in ways that link Brazil to its African past.
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Born in Syria of Armenian origin, Hrair Sarkissan works with photography and video to engage themes of space, place, conflict, identity, and time. En mars , le photographe franco-algérien Bruno Boudjelal a animé un atelier de deux semaines avec plus de quinze jeunes artistes et photographes algériens, prenant comme point de départ le thème de la Biennale, Telling Time. The diverse photographic approaches will be presented as a slide projection as well as a series of artists presentations during the biennale.
Koudjina Heritages and Workshop: After holding two photography workshops in the capital of Niamey in and , the French photographer Philippe Guionie returned to the Republic of Niger in February as part of a new project: For this project, Guionie spent 15 days working with a selection of Nigerien photographers, many of whom had taken part in the initial workshops. The outside panels at the Institut français will forge a connection between the general public and the African Biennale of Photography.
Through an international open call, the curators solicited images from amateur and professional photographers taken between and , or the period marking the beginning of the Malian crisis to the opening of the biennale: Participatory in nature, this public archive project attempts to visualize how Malians, Africans, and the broader global citizenry have used images to directly document forms of social or political changes in their lives, while also displaying images that refuse to engage such changes in order to suggest sentiments of resilience or perseverance.
Los Angeles, California, August 22, Los Angeles, Californie, 22 août For close to a year, they lived alongside the incarcerated some of whom were accused of rape and homicide.
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Palo, Phillippines, April 28, Palo, Phillippines, 28 avril This series of short films investigates the legacy of colonialism in Portuguese-speaking African countries: In tracing the connections between the architecture of the five African republics, the films potently interrogate how modernity was variously developed, absorbed and sometimes rejected in specific local contexts. En Afrique du Sud, il y a beaucoup de galeries. Oui, il y a la Biennale à Bamako et il y a beaucoup de photographes au Mali, mais nous devons interroger cette notion de capitale de la photographie africaine.
Alors pourquoi on nomme une ville capitale de la photographie? Si vous voulez, se sont toutes des capitales de la photographie. Comment imaginez-vous le futur de la Biennale de Bamako en dix ou vingt ans? Le défi pour cette dixième Biennale était pour moi de transformer un événement international en un événement plus local. Alors comment devenir plus local, mais en gardant son rayonnement international? Cette Biennale de Bamako, comment peut-elle devenir un événement local avec un rayonnement international?