In Review: First Year of Operation September 2017 - August 2018 Table of Contents
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The 2Nd Biennial Festival of Non-Western Contemporary
The 2 nd biennial festival of non-Western contemporary photography 22/09/09 - 22/11/2009 Artistic direction: Anahita Ghabaian Etehadieh Scenography: Patrick Jouin M U S É E D U Q U A I B R A N L Y C O N T A C T S Communications Department Nathalie Mercier, Communications Director 33(0)1 56 61 70 20 • [email protected] Magalie Vernet, Media Relations Manager 33(0)1 56 61 52 87 • [email protected] P R E S S C O N T A C T S Heymann, Renoult Associates 33(0)1 44 61 76 76 • [email protected] , [email protected] , [email protected] www.quaibranly.fr / www.photoquai.fr CONTENTS Preface by Stéphane Martin, President of the musée du quai Branly page 3 Preface by Anahita Ghabaian Etehadieh, Artistic Director of PHOTOQUAI page 4 I. Presentation of PHOTOQUAI 2009 page 7 II. Organisation of PHOTOQUAI 2009 page 8 III. Selection of works - PHOTOQUAI , the exhibition on the quai Branly page 10 - 165 years of Iranian photography at the musée du quai Branly page 28 - Portraits croisés (comparative portraits) , at the Pavillon des Sessions page 29 IV. The photographic collection of the musée du quai Branly page 30 V. Meetings, screenings, debates page 33 - Meetings with the photographers - Fridays at PHOTOQUAI - PHOTOQUAI School: « Regards croisés » (comparative views) - PHOTOQUAI Forum VI. PHOTOQUAI’s partners page 36 VII. Patrons and sponsors page 48 VIII. Media partners page 49 IX. Annexes - Catalogue page 50 - Curators' biographies page 51 - Photographers’ biographies page 54 - Practical information / Press contacts page 60 www.quaibranly.fr / www.photoquai.fr * PREFACE BY STEPHANE MARTIN Stéphane Martin © musée du quai Branly, photo Greg Semu In 2009, the musée du quai Branly was three years old. -
Urban Africa – Urban Africans Picture: Sandra Staudacher New Encounters of the Urban and the Rural
7th European Conference on African Studies ECAS 29 June to 1 July 2017 — University of Basel, Switzerland Urban Africa – Urban Africans Picture: Sandra Staudacher New encounters of the urban and the rural www.ecas2017.ch Convening institutions Institutional partners Funding partners ECAS7 Index 3 Welcome 4 Word from the organisers 5 Organisers 6 A* Magazine 7 Programme overview 10 Keynote speakers 12 Hesseling Prize 14 Round Tables 15 Film Sessions 20 Meetings 24 Presentations and Receptions 25 Book launches 26 Panels details (by number) 28 Detailed programme (by date) 96 List of participants 115 Publisher exhibition 130 Practical information 142 Impressum Cover picture: Street scene in Mwanza, Tanzania Picture by Sandra Staudacher. Graphic design: Strichpunkt GmbH, www.strichpunkt.ch. ___ECAS7_CofrenceBook_.indb 3 12.06.17 17:22 4 Welcome ECAS7 ia, India, South Korea, Japan, and Brazil. Currently it has 29 members, 5 associate members and 4 af- filiate members worldwide. Besides the European Conference on African Studies, by far its major ac- tivity, AEGIS promotes various activities to sup- port African Studies, such as specific training events, summer schools, and thematic conferen- ces. Another initiative, the Collaborative Research Groups (CRGs) is creating links between scholars from AEGIS and non-AEGIS centres that engage in collaborative research in new fields. AEGIS also supports the European Librarians in African Stud- ies (ELIAS). A new initiative, relating scholars in Af- rican Studies with social and economic entrepre- neurship is expressed in initiatives such as Africa Works! (African Studies Centre, Leiden) or the I have the great pleasure of welcoming to the 7th Business and Development Forum held just be- European Conference on African Studies ECAS fore ECAS. -
Nandipha Mntambo
Nandipha Mntambo Born 1982 in Mbabane, Swaziland Lives in Johannesburg, South Africa Education 2007 Master of Fine Arts, Michaelis School of Fine Art, UCT, South Africa Solo exhibitions 2017 The snake you left inside me, Stevenson, Johannesburg, South Africa Material Value, Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa 2015 Love and its companions, Andréhn-Schiptjenko, Stockholm, Sweden Metamorphoses, Stevenson, Cape Town, South Africa 2014 Transience, Stevenson, Johannesburg, South Africa 2013 Nandipha Mntambo, Zeitz MOCAA Pavilion, V&A Waterfront, Cape Town, South Africa Nandipha Mntambo, Andrehn-Schiptjenko, Stockholm, Sweden 2012 Faena, Oliewenhuis Art Museum, Bloemfontein; Standard Bank Gallery, Johannesburg; University of Potchefstroom Art Gallery, South Africa The Unspoken, Stevenson, Cape Town, South Africa 2011 Faena, National Arts Festival, Grahamstown; Nelson Mandela Metropolitan Art Museum, Port Elizabeth; Iziko South African National Gallery, Cape Town; Durban Art Gallery, South Africa 2009 Umphatsi Wemphi, Brodie/Stevenson, Johannesburg, South Africa The Encounter, Michael Stevenson, Cape Town, South Africa 2007 Ingabisa, Michael Stevenson, Cape Town, South Africa Selected group exhibitions 2020 Contemporary Female Identities in the Global South, Joburg Contemporary Art Foundation, South Africa Matereality, Iziko South African National Gallery, Cape Town, South Africa 2019 Ngoma: Art and Cosmology, Johannesburg Art Gallery, South Africa Speculative Inquiry #1 (On abstraction), Michaelis Galleries, Cape -
Visual Century
Volume four: 1990–2007 Edited by Thembinkosi Goniwe, Mario Pissarra and Mandisi Majavu VISUAL CENTURY South African Art in Context The end of the Cold War and subsequent rise of globalisation, along with the advent of democracy in South Africa, introduced new social and political orders, with profound implicatio ns for South African artists. This was a time when the persistence of economic inequalities and con icts within and beyond national borders constantly militated against an unbridled celebration of ‘freedom’. This volume critically addresses some of the most notable developments and visible trends in post-apartheid South African art. These include South Africa’s entry into the internationa l art world, its struggle to address its past, and artists’ persistent and often provocative preoccupations with individual and collective identity. The widespread and often unsettling representation of the human body, as well as animal forms, along with the steady increase of new technologies and the development of new forms of public art, are also discussed. While much of the art of the period is open-ended and non-didactic, the persistence of engagement with socially responsive themes questions the reductive binary between resistan ce and post-apartheid art that has come to dominate accounts of artistic production before and after South Africa’s democratic election. Thembinkosi Goniwe Mario Pissarra volume four Mandisi Majavu 1990 - 2007 editors VISUAL CENTURY South African Art in Context Volume 4 1990–2007 Edited by Thembinkosi Goniwe, Mario -
Afrique Du Sud. Photographie Contemporaine
David Goldblatt, Stalled municipal housing scheme, Kwezidnaledi, Lady Grey, Eastern Cape, 5 August 2006, de la série Intersections Intersected, 2008, archival pigment ink digitally printed on cotton rag paper, 99x127 cm AFRIQUE DU SUD Cours de Nassim Daghighian 2 Quelques photographes et artistes contemporains d'Afrique du Sud (ordre alphabétique) Jordi Bieber ♀ (1966, Johannesburg ; vit à Johannesburg) www.jodibieber.com Ilan Godfrey (1980, Johannesburg ; vit à Londres, Grande-Bretagne) www.ilangodfrey.com David Goldblatt (1930, Randfontein, Transvaal, Afrique du Sud ; vit à Johannesburg) Kay Hassan (1956, Johannesburg ; vit à Johannesburg) Pieter Hugo (1976, Johannesburg ; vit au Cap / Cape Town) www.pieterhugo.com Nomusa Makhubu ♀ (1984, Sebokeng ; vit à Grahamstown) Lebohang Mashiloane (1981, province de l'Etat-Libre) Nandipha Mntambo ♀ (1982, Swaziland ; vit au Cap / Cape Town) Zwelethu Mthethwa (1960, Durban ; vit au Cap / Cape Town) Zanele Muholi ♀ (1972, Umlazi, Durban ; vit à Johannesburg) Riason Naidoo (1970, Chatsworth, Durban ; travaille à la Galerie national d'Afrique du Sud au Cap) Tracey Rose ♀ (1974, Durban, Afrique du Sud ; vit à Johannesburg) Berni Searle ♀ (1964, Le Cap / Cape Town ; vit au Cap) Mikhael Subotsky (1981, Le Cap / Cape Town ; vit à Johannesburg) Guy Tillim (1962, Johannesburg ; vit au Cap / Cape Town) Nontsikelelo "Lolo" Veleko ♀ (1977, Bodibe, North West Province ; vit à Johannesburg) Alastair Whitton (1969, Glasgow, Ecosse ; vit au Cap) Graeme Williams (1961, Le Cap / Cape Town ; vit à Johannesburg) Références bibliographiques Black, Brown, White. Photography from South Africa, Vienne, Kunsthalle Wien 2006 ENWEZOR, Okwui, Snap Judgments. New Positions in Contemporary African Photography, cat. expo. 10.03.-28.05.06, New York, International Center of Photography / Göttingen, Steidl, 2006 Bamako 2007. -
Body Politic Needs Sider How We Might Reach More People
I FEBRUARY 1979 NUMBER 50/$1~.00 Immorality? Indecency! Panic in '53 The charges were pure harassment, says Retreat to defence counsel as the trial of The Body "respectability." Politic concludes. But will the judge agree? Part Three of A look at the "obscenity" trial that wasn't. "Dreams Deferred." A MAGAZINE J I FOR GAY LIBERATION llLSUllg U[, Toronto police hit the Barracks — the gay community hits back. And how not to. TBP investigates Toronto's 14 "homo- sexual slayings'.j» And.. Everywoman: Breaking out of the kitchens of language Out in the City: Supermarket extra- vaganza — and the alternatives EIGHTH YEAR No sense beating around the bush. The Body Politic needs sider how we might reach more people. No time to find cash fast. ways of pushing our advertising revenue up to the modest We've just come through the most difficult period in quota we've set for it. this magazine's seven-year history. We've had to cope with No time, finally, to make sure that when we got through a police raid that took away vital records, a long and com- this crisis The Body Politic would still be solvent. plicated defence effort that has absorbed huge amounts So far, it still is — but not by much. And there are some of money and energy, and a trial that has tied us up almost major hurdles coming up. At the end of March, our lease completely over the past few weeks. runs out. Whatever quarters we find are bound to be more A lot of people have helped, to be sure. -
Communiqué De Presse
COMMUNIQUÉ DE PRESSE Rueil-Malmaison, le 18 juin 2019 POUR SES 100 ANS, CITROËN OFFRE UNE EXPOSITION PHOTO À PARIS CET ÉTÉ : THE WORLD INSPIRED BY CITROËN Pour ses 100 ans, Citroën donne une carte blanche à sept grands photographes internationaux réunis en une exposition de 100 photos : THE WORLD INSPIRED BY CITROËN (Le monde inspiré par Citroën). L’exposition ouvrira ses portes à La Monnaie de Paris du 9 juillet au 18 août. Amsterdam, Paris, Tunis, Milan, New York, Buenos Aires, Tokyo : sept villes du monde où les sept artistes racontent la ville, leur ville, avec des Citroën pour personnages principaux. Cette exposition, gratuite et ouverte à tous, est à découvrir en avant-première dès présent sur le musée en ligne Citroën Origins : http://www.citroenorigins.fr/fr/exposition/inspired-citroen Le rendez-vous du Centenaire est l’occasion pour Citroën de multiplier les formes de célébrations (lien CP calendrier) en magnifiant le passé, en mettant en scène le présent et en évoquant le futur de la Marque. Avec l’audace qui la caractérise, elle donne aujourd’hui carte blanche à sept grands photographes internationaux pour 100 clichés réunis en une exposition « THE WORLD INSPIRED BY CITROËN » (le monde inspiré par Citroën). « Cet été, l’exposition ‘ The World Inspired by Citroën ‘ à la Monnaie de Paris est une invitation au voyage à bord de modèles de la Marque. Elle réunit le fruit du travail de sept photographes de talent, issus des quatre coins du monde. Ils ont posé chacun un regard artistique sur Citroën dans quelques grandes villes du monde. -
Week-End Dlouverture
week-end d’ouverture dossier de presse MARSEILLE-PROVENCE 2013 OUVERTURE DOSSIER DE presse 1 CAPITALE EUROPéENNE DE LA CULTURE week-end d’ouverture dossier de presse LES 4 TEMPS FORTS DU WEEK-END D’OUVERTURE TR1 4 LES OUVERTURES DE LiEUx TR1 6 LES ExPOSiTiONS TR1 8 à DécOUVRiR FiN jaNViER TR1 14 MARSEILLE-PROVENCE 2013 ouverture DoSSIer De Presse 2 MARSEILLE-PROVENCE 2013 ouverture DoSSIer De Presse 3 CAPItALe euroPéeNNe De LA CuLture CAPItALe euroPéeNNe De LA CuLture MaRSEiLLE ProvencE, QUaTRE MOUVEMENTS vous êTES ici chEz vous POUR DONNER LE ton Bienvenue à Marseille Provence. Marseille Provence offre en effet à ses visiteurs une Soyez de ceux qui lanceront l’année Capitale ! C’est dimanche… Le temps du partage en famille, entre Bienvenue sur notre territoire à la fois familier et méconnu. expérience particulière, multiple, riche de ses atouts Les 12 et 13 janvier, Marseille-Provence 2013 vous invite amis. Sûrement le moment de se lancer le défi d’une Familier car nul ne peut ignorer Marseille, ville rebelle, ni naturels et de sa diversité. Son positionnement particulier, à son week-end d’ouverture. Une ouverture en quatre grande chasse au trésor ? Cent onze parcours dans la Provence, terre de bien être. Familier aussi par notre entre Europe et Méditerranée, en a fait un territoire de mouvements, pour donner le ton, l’envie. Comme un avant- une vingtaine de villes, autant de chemins à arpenter, réputation souvent sulfureuse. métissage, de diversité, et de tolérance. goût de ce qui va se passer tout au long de l’année : une de trésors à dénicher, d’histoires à deviner, petites et Méconnu surtout, car l’image que nous donnons à voir belle rencontre entre artistes, acteurs culturels, habitants grandes. -
Bridget Baker Cv
BRIDGET BAKER Born in 1971 in East London, South Africa. Based in Cape Town and London. ONE ARTIST EXHIBITIONS 2011 Wrecking at Private Siding 661, an installation at the Wapping Project, London, UK. 2009 Exhibition of recent works by Bridget Baker, Centro des Artes Contemporanea, Burgos, Spain. 2008 But we look so good in our uniforms, Diet Gallery, Miami, USA. 2007 Bridget Bæker, Joao Ferreira Gallery, Cape Town, South Africa. 2006 But being a sensible woman, she subdued her terrors and turned over and went to sleep again. Joao Ferreira Gallery, Cape Town, South Africa. 2001 Official BB Project University of Stellenbosch Art Gallery, Stellenbosch, South Africa. 2000 As if you’ve never seen it before. Artists Unlimited Gallery, Bielefeld, Germany. 1997 Bridget Baker BAFA(Stell.), BA. Hons.(FA)(Stell.), MFA (UCT) cand. The Hänel Gallery, Cape Town, South Africa. 1996 The Shrill sound of a telephone at 3 a.m. The Planet Contemporary Art Site, Cape Town, South Africa. SELECTED GROUP EXHIBITIONS AND FILM FESTIVALS 2011 International Competition of the 57th International Short Film Festival Oberhausen, Germany. Curated by Lars Henrik Gass and Hilke Doering. Lens: fractions of contemporary photography and video in South Africa, Stellenbosch University Art Museum, South Africa. Including work by Andrew Putter, Dineo Seshee Bopape, Husain and Hasan Essop, Jo Ractliffe, Kathryn Smith, Pieter Hugo, Stephen Hobbs, Steven Cohen, and Zanele Muholi. Curated by Ulrich Wolff and Corlia Harmsen. Glasgow Short Film Festival with the The Magic Lantern, Glasgow, Scotland, UK. Mine, Iwalewa-House, Afrikazentrum der Universität Bayreuth, Germany. A selection of films by South African artists including Dineo Seshee Bopape, Jacques Coetzer, Teboho Edkins, Simon Gush and Dorothee Kreutzfelt, William Kentridge, Donna Kukama, Nandipha Mntambo, Zanele Muholi, Robin Rhode, Berni Searle, Lerato Shadi, Penny Siopis, Gregg Smith, and Johan Thom. -
Bridget Baker March 2013
BRIDGET BAKER Born in 1971 in East London, South Africa. Based in London and Cape Town. www.bridgetbaker.co.za BUREAU DE CINÉMA AFRICAIN (collaboration with Bianca Baldi) 2013 Aerolithe Illusion, at Goethe on Main, Johannesburg, ZA. ONE-ARTIST EXHIBITION 2012 The Remains of the Father - Fragments of a Trilogy (Transhumance), MAMbo, Bologna, Italy. Curated by Elisa del Prete. 2012 Steglitz House, Galerie GUM, Bielefeld, Germany. Curated by Gabriele Undine Meyer. 2011 Wrecking at Private Siding 661, Christian Ferreira at the Wapping Project, London, UK. 2009 Bridget Baker, Centro des Artes Contemporanea, Burgos, Spain. 2008 But we look so good in our uniforms. Diet Gallery, Miami, USA. 2007 Bridget Bæker , Joao Ferreira Gallery, Cape Town, ZA. 2006 But being a sensible woman, she subdued her terrors and turned over and went to sleep again. Joao Ferreira Gallery, Cape Town, ZA. 2001 Official BB Project. University of Stellenbosch Art Gallery, Stellenbosch, ZA. 2000 As if you've never seen it before. Artists Unlimited Gallery, Bielefeld, Germany. 1997 Bridget Baker BAFA(Stell.), BA. Hons.(FA)(Stell.), MFA (UCT) cand. The Hänel Gallery, Cape Town, ZA. 1996 The Shrill sound of a telephone at 3 a.m. The Planet Contemporary Art Site, Cape Town, ZA. SELECTED GROUP EXHIBITIONS 2012 Subject as Matter, The New Church, Cape Town, ZA. Curated by Penny Siopis. Works included are by Robin Rhode, Wim Botha, Lynette Yiadom-Boabye, Georgina Gatrix, Walter Battiss and Willem Boshoff. Dak’Art 2012, Dakar, Senegal. Mine, DUCTAC, Dubai, United Arab Emirates and University of Johannesburg Art Gallery, South Africa. A selection of films by South African artists including Dineo Seshee Bopape, Jacques Coetzer, Teboho Edkins, Simon Gush and Dorothee Kreutzfelt, William Kentridge, Donna Kukama, Nandipha Mntambo, Robin Rhode, Berni Searle, Lerato Shadi, Penny Siopis, Gregg Smith, Johan Thom and Michael McGarry. -
Digital Art and the Tunisian Revolution: Aesthetics of Contingency in Oussema Troudi's Deux Minutes De Tunis
Shilton, S. (2016). Digital Art and the Tunisian Revolution: Aesthetics of Contingency in Oussema Troudi's Deux minutes de Tunis. Wasafiri, 31(4), 69-75. https://doi.org/10.1080/02690055.2016.1218114 Peer reviewed version Link to published version (if available): 10.1080/02690055.2016.1218114 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor & Francis at http://www.tandfonline.com/doi/full/10.1080/02690055.2016.1218114. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Digital Art and the Tunisian Revolution: Aesthetics of Contingency in Oussema Troudi’s Deux minutes de Tunis Siobhán Shilton, University of Bristol The revolutionary wave of demonstrations and protests that began to sweep across numerous Arab countries in December 2010 shocked the world. In this context of radical transformation, of the explosion of enduring political frameworks or of brutal repression and humanitarian disaster, people have struggled to understand the revolutions, and to encourage alternative, nuanced visions of them. The production of art is vital to this process. How does art evoke the idea of revolution? How does this art invent new visual languages? This article addresses these questions in relation to the specific context of the Tunisian Revolution of January 2011. -
Biennial Culture Or Grassroots Globalisation? The
Patrick B. Mudekereza 130 55 34 Master in History of Art (full time) Research Report Title: Biennial Culture or Grassroots Globalisation? The challenge of the Picha art centre, as a tool for building local relevance for the Rencontres Picha, Biennale de Lubumbashi. Supervisor: Nontobeko Ntombela Abstract: This research aims to examine how the organisation of a biennial and its content could influence the modelling of an independent art centre. Using the concept coined by Arjun Appadurai, ‘grassroots globalisation’, this research unpacks the establishment of Picha art centre through its project Rencontres Picha, Biennale de Lubumbashi (2010-2013), a case study, in examining how specificities of the global south geopolitics may encourage alternative art institutions to emerge. By studying the first three years of Picha through the project Rencontres Picha, Biennale de Lubumbashi (2010-2013), this research investigates how the art centre was created as a tool to position the organisation within the global art discourse whilst maintaining its local relevance in Lubumbashi. It is located at the intersection of three areas of study: Biennial culture, alternative institution models, and global South strategies and politics. 1 CONTENTS CONTENTS............................................................................................................................................. 1 INTRODUCTION ..................................................................................................................................... 3 Chapter I: HISTORICAL