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2020 CLPA NEWS #01 , 2018-19. Editorial note: This picture of This note: , 2018-19. Editorial Faces THE COVID-19 ISSUE Feature: Reflections on Covid-19: The Future of Photography, Education and Platforms Tips for online educators ©Mauro Vombe, from the series from Vombe, ©Mauro Covid-19. prior to in Northern photographed was Mozambique, a crowd ©Mauro Vombe, from the series Faces, 2018-19. Editorial note: This picture of a crowd in Northern Mozambique, was photographed prior to Covid-19. CONTRIBUTORS Cairo, Egypt Contemporary Image Collective (CIC) Dakar, Senegal Ecole Nationale Khartoum, Sudan des Arts (ENA) The Other Vision (TOV) JULY 2020 Addis Ababa, Ethiopia CONTRIBUTORS: CLPA members Center for Photography EDITORS: John Fleetwood & Amy Daniels, in Ethiopia (CPE) Photo: ([email protected]) Mindelo, Cabo Verde Associação AOJE Lagos, Nigeria Kigali, Rwanda Bamako, Mali The Nlele Kwanda Art Foundation CLPA News is a newsletter made up from Yamarou-Photo Institute (TNI) contributions of the CLPA members. The Editors hold no responsibility or liability for the accuracy of the provided content. GUEST EDITOR: Jacques Nkinzingabo TRANSLATOR: Patricia Yumba (House of Nzinga) Johannesburg, South Africa PROOF READER: Sibongile Shope Photo: DESIGN: Karien Market Photo Workshop (MPW) van der Westhuizen CLPA NEWS 2020#1 3 FEATURE: REFLECTIONS ON COVID-19 – THE FUTURE OF PHOTOGRAPHY The future of photography The following interviews were done between 22 April and 18 May 2020 as a special focus on the Covid-19 Pandemic. The questions are in many cases asking for a speculative position. The interview team included Jacques Nkinzingabo, Amy Daniels, Mika Conradie and John Fleetwood. How has the role of photography shifted due it’s a virus that we cannot see. But we can see the effects of the to the pandemic? virus and that looks perhaps very much like things that we’ve seen before, except that it’s more intense, more emphasized. JOHN FLEETWOOD, PHOTO: MAHEDER HAILESELASSIE, CENTER FOR One of the understandings of photography that we are still trying PHOTOGRAPHY IN ETHIOPIA (CPE) "I think the role of to figure out is the space in which we review photographs, and that this space has very much become the internet, on the screen I think the role of photography, globally, has become more photography, globally, rather than as a physical document. There are many implications informative and it has become a carrier of emotions to what’s to this. We are looking at photographs that are manipulated and been happening everywhere. I also noticed that it has partly has become more adjusted to some degree and in other cases compiled in such a become a tool for propaganda in Ethiopia, where viewers now way that we are not certain anymore if it is a photograph or a scan consume well-composed photos of officials carrying supplies, or who the author is or why the photograph was originally made. providing food to people daily, etc. informative and it has We take images at face value. This shift between what constitutes a photograph and what constitutes an image has very much been BEHAN TOURÉ, NATIONAL SCHOOL OF ARTS. become a carrier of a part of thinking over the last 20 years. DAKAR (ENA) A lot of people on the continent would not have access to For me, it would rather be the ways of photographing in a emotions to what’s image-making during this period. Perhaps when people are at context of generalized fear, of anxiety faced with the new school, they have got that access because of internet connection phenomenon of social/physical distancing which seems to be been happening but when they are home, suddenly they will not. During the common denominator of all our daily reactions. What will Covid-19, I think this divide in our society about who can read, evolve, in my opinion, is rather the manner and not the role; as in understand and make is certainly at a precipice. The divide can the 80’s with the introduction of autofocus, which had started to everywhere." become even greater. When we think of Covid-19, we know that change the habit of photographers handling their tool. CLPA NEWS 2020#1 4 REFLECTIONS ON COVID-19 – THE FUTURE OF PHOTOGRAPHY (CONT.) What are the implications for photographers who are working in reflective ways? EMMA WOLUKAU-WANAMBWA, ANOTHER ROADMAP People may work with what they have on hand, or what they can access, and I think that holds good pretty much everywhere. I think the content of people’s work is inevitably going to shift. A lot of photographers on this continent, as I understand it, have gotten to photography in order to tell their own story about a place, about a particular thing or where they come from, or to offer a particular view of something. Whether or not those desires can be achieved in a domestic situation, I’m not sure. When people’s concerns and interests and desires change with work, I think it’s going to have a consequence, in terms of what is documented . We are quite rightly, very deep into an interrogation of the politics that represent Africa, particularly the role of the photograph in that. Maybe having to work much more domestically will add a new kind of interrogation of the camera, or what it means to be a photographer; what might be possible or interesting under the circumstances. If one can only photograph where you are and who you live with, with a different kind of mindset, another kind of contemplation or interrogation of the medium and what it means to work with that medium, might possibly start to happen. JOHN FLEETWOOD, PHOTO: Photographers work in communities where they have many conversations. Of course, these conversations are now directed through different mediums. Perhaps that will have a very big difference in how we think about the photograph. When you look at , 2019 a photograph, the meaning that you project onto it is definitely the compilation of things that have happened to you prior to you looking at that photograph. When you Slaghuis II Slaghuis look at the photograph, there’s this intricate process of seeing things that make sense to you - and not seeing certain things that do not make sense to you. At the moment, with the lockdown all across the continent, I would imagine that within this isolation, the subject matter could then become around self, issues of self, issues of home and issues of immediate belonging. At the same time what is happening in your life is an accumulation of reading social media and news. I would assume that the internet will not only be a place where people share their work, but it will also be a place where they consume their references and ideas towards photography. CLPA NEWS 2020#1 5 the series from ©Thembinkosi Hlatshwayo, FEATURE: REFLECTIONS ON COVID-19 – THE FUTURE OF PHOTOGRAPHY (CONTINUED) With a socio-economic downturn predicted, There will certainly be drastic budget restrictions because there MAHEDER HAILESELASSIE, CPE will be a tendency towards “priorities” which is very subjective what are the implications for the development Institutions might be forced to find a more sustainable way because it poses the problem of eliminating certain sectors of photography within the next two years? that requires less budget. For instance, doing more online compared to others. There will be a slowdown in the recovery sessions, cutting back on publications and physical exhibitions How will this downturn affect the role of because the economy will not want to invest their savings into can be a way. photography? the arts. JOHN FLEETWOOD, PHOTO: MAHEDER HAILESELASSIE, CPE I think that the first and logical alternative would be that we have I expect there might be less funding in the creative arts which Photography as a career/ financial income to use digital technologies as a way to continue our communities will in turn affect the development of various photo projects. In has always been challenging, added now of photography, we have to keep our communities alive, so that the much possible scenario that there’s a negative implication, the economic implications of Covid-19, they are able to sustain their thinking around photography. I presume that the role of photography, perhaps with the what are possible sustainability options for I think that there’s an enormous focus on photography exception of photojournalism, may be diminished. photography institutions, practitioners and institutions and other kinds of administrations to reach out freelancers within the next two years? What to photographers that they work with to make sure that they JOHN FLEETWOOD, PHOTO: are supported through this period. I think that photography strategies can we apply to maximise income institutions, and particularly training institutions, have always I think the importance of witnessing might grow at this time. At opportunities? had this dilemma that you can’t work with a photographer a time of isolation, it will become essential for us to understand without thinking about the experiences that they have at home. the impact of the virus, especially in divided worlds. Will this I think that relationship will be much more apparent. Institutions be a time where we start to rely on local photographers for BEHAN TOURÉ, ENA need to show empathy and solidarity. news because of traveling restrictions? At times of uncertainty, Wealth might not suffer a recession or a devaluation. The rich are people fall back on what is trusted. This might very well mean going to put money into the areas related to photography which that little will shift in terms of new opportunities. will bring them gains.

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