Guy Tillim: Avenue Patrice Lumumba

Total Page：16

File Type：pdf, Size：1020Kb

Guy Tillim: Avenue Patrice Lumumba July 27 through September 05, 2011 ARTIST(S)Guy Tillim In his project Avenue Patrice Lumumba (2007–08), South African artist Guy Tillim (b. 1962) records the architecture and infrastructure of colonial and postcolonial Africa. Patrice Lumumba (1925–61) was one of the first elected African leaders in modern times. In 1960 he became the first prime minister of the Democratic Republic of the Congo after his country won independence from Belgium. Only ten weeks after his speech at the independence celebrations, in which he listed various injustices and human rights violations implemented by the Belgians, Lumumba’s government was deposed in a coup. He was imprisoned, beaten, and murdered in circumstances suggesting the complicity of the governments of Belgium and the United States. Lumumba became revered as a liberator of independent Africa and his legacy has made a lasting impression in many cities throughout Africa. The streets and plazas that bear his name in western and southern Africa have come to represent both the idealism and decay of an African dream for unity. Originally a photojournalist, Guy Tillim has spent a large part of his career documenting social conflict in Africa. In Avenue Patrice Lumumba, he avoids heavy action entirely, and instead focuses on the architecture, landscape, and people in African countries where the legacy of colonialism forms a backdrop but does not capture the essence of individual lives unfolding. His pictures portray the crumbling institutional buildings—post offices, schools, hotels, and offices—that were built by colonial governments in Angola, the Democratic Republic of Congo, Madagascar, and Mozambique. As Tillim explains, “There’s a ten-year period in the late modernist world where there was this grand colonial architecture built in Francophone Africa and Lusophone Africa. It was this strange contemporary mythological time. These buildings are impressive, for all their inappropriateness they nonetheless form part of a contemporary African stage. If you look at them in a certain way, they’re just kind of floating worlds.” .

Copy Link

Recommended publications

Global Photographies
Sissy Helff, Stefanie Michels (eds.) Global Photographies Image | Volume 76 Sissy Helff, Stefanie Michels (eds.) Global Photographies Memory – History – Archives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3006-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Sally Waterman, PastPresent No. 6, 2005, courtesy of the artist Proofread and typeset by Yagmur Karakis Printed by docupoint GmbH, Magdeburg Print-ISBN 978-3-8376-3006-0 PDF-ISBN
[Show full text]
AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY in 1980S SOUTH AFRICA
Fall 08 AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY IN 1980s SOUTH AFRICA Amy McConaghy Acknowledgments I would like to thank Paul Weinberg, Eric Miller, Don Edkins, Graham Goddard, Zubeida Vallie and Omar Badsha for taking the time to be interviewed and for all being so incredibly obliging, kind and helpful. I thoroughly enjoyed meeting all of you and listening to your incredible stories. I would also like to express my gratitude to my supervisor, Sean Field, for his excellent guidance, support and patience throughout this thesis. i Abstract This thesis examines the development of the Afrapix collective agency throughout the 1980s. It argues that despite often being confined within the context of ‘struggle photography,’ Afrapix produced a broad body of social documentary work that far exceeded the struggle. However, within the socio-political milieu photographers were working, there was limited space for a more nuanced and complex representation of South Africa. Resisting this narrow visual format, Afrapix photographers in the 1980s faced the challenge of documenting the struggle and an extended repertoire of social issues whilst expressing a nuanced and complex point of view that countered the predominant narrative. Table of Contents INTRODUCTION ......................................................................................................... 1 AFRAPIX IN CONTEXT .............................................................................................. 7 FISTS AND FLAGS PHOTOGRAPHY in the 1980s ...............................................
[Show full text]
Yipsa Catalogue
2016 CATALOGUE YOUNG IN PRISON SOUTH AFRICA “Combining the arts with therapy is as a powerful way for youth who have been in conflict with Young in Prison South Africa (YiPSA) is a non-profit organisation that works to support young people in conflict with the law through law to reconnect with their humanness and three main programmatic areas: Rehabilitation of incarcerated build skills for expressing their emotions in youth, Reintegration of ex-offenders and Advocacy. a safe, positive and constructive way. In this way, we give them a unique platform for In the area of Rehabilitation, YiPSA uses At an international level, YiPSA is part Arts Therapy as a vehicle to facilitate of the Young in Prison International connection, collaboration, expression, creativity behaviour modification and psychosocial Network, which consists of other partner development of incarcerated youth organizations based in Malawi, Kenya, and fun – which in turn creates opportunities offenders. Our team of qualified art and Colombia and the Netherlands. music therapists works with a group of for their personal transformation.” 10 youth in three-month cycles, using music, visual art and mindfulness practices To date, we have reached over 3000 to boost their empathy, self-awareness, participants across our programmes in – Khethiwe Cele – Director: Young in Prison South Africa confidence and sense of responsibility. Cape Town and Johannesburg. We’ve delivered over 2500 rehabilitation and reintegration workshops, and have Our Reintegration programme supports seen 60%-65% of our post-release released youth ex-offenders to successfully participants never return to crime again. reintegrate into mainstream society through More information on YiPSA can be found on our Entrepreneurial and Personal Development.
[Show full text]
Between States of Emergency
BETWEEN STATES OF EMERGENCY PHOTOGRAPH © PAUL VELASCO WE SALUTE THEM The apartheid regime responded to soaring opposition in the and to unban anti-apartheid organisations. mid-1980s by imposing on South Africa a series of States of The 1985 Emergency was imposed less than two years after the United Emergency – in effect martial law. Democratic Front was launched, drawing scores of organisations under Ultimately the Emergency regulations prohibited photographers and one huge umbrella. Intending to stifle opposition to apartheid, the journalists from even being present when police acted against Emergency was first declared in 36 magisterial districts and less than a protesters and other activists. Those who dared to expose the daily year later, extended to the entire country. nationwide brutality by security forces risked being jailed. Many Thousands of men, women and children were detained without trial, photographers, journalists and activists nevertheless felt duty-bound some for years. Activists were killed, tortured and made to disappear. to show the world just how the iron fist of apartheid dealt with The country was on a knife’s edge and while the state wanted to keep opposition. the world ignorant of its crimes against humanity, many dedicated The Nelson Mandela Foundation conceived this exhibition, Between journalists shone the spotlight on its actions. States of Emergency, to honour the photographers who took a stand On 28 August 1985, when thousands of activists embarked on a march against the atrocities of the apartheid regime. Their work contributed to the prison to demand Mandela’s release, the regime reacted swiftly to increased international pressure against the South African and brutally.
[Show full text]
GUY TILLIM Jo’Burg Avenue Patrice Lumumba
dossier de presse GUY TILLIM Jo’burg Avenue Patrice Lumumba du 13 janvier au 19 avril 2009 vernissage presse le lundi 12 janvier de 10h à 12h en présence de l’auteur contact presse : Jessica RETAILLEAU Fondation HCB, 2 impasse Lebouis, 75014 Paris T +33 1 56 80 27 03 / F +33 1 56 80 27 01 / [email protected] sommaire Introduction d’Agnès Sire, commissaire de l’exposition ........................................... p.4 Communiqué de presse .......................................................................................... p.5 Biographie............................................................................................................... p.7 Visuels libres de droits............................................................................................. p. 9 Infos utiles............................................................................................................... p.11 Conversations de la Fondation HCB........................................................................ p. 12 Prix HCB 2009......................................................................................................... p.13 Henri Cartier-Bresson et Le Monde ......................................................................... p.14 Communiqué de la Fondation HCB ......................................................................... p.15 Partenaires média ................................................................................................... p.16 Guy Tillim à la Fondation HCB, 2 impasse
[Show full text]
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.
[Show full text]
2017 07 31 Leslie Wilson Dissertation Past Black And
THE UNIVERSITY OF CHICAGO PAST BLACK AND WHITE: THE COLOR OF PHOTOGRAPHY IN SOUTH AFRICA, 1994-2004 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY LESLIE MEREDITH WILSON CHICAGO, ILLINOIS AUGUST 2017 PAST BLACK AND WHITE: THE COLOR OF PHOTOGRAPHY IN SOUTH AFRICA, 1994-2004 * * * LIST OF FIGURES iii ACKNOWLEDGMENTS xv ABSTRACT xx PREFACE “Colour Photography” 1 INTRODUCTION Fixing the Rainbow: 8 The Development of Color Photography in South Africa CHAPTER 1 Seeking Spirits in Low Light: 40 Santu Mofokeng’s Chasing Shadows CHAPTER 2 Dignity in Crisis: 62 Gideon Mendel’s A Broken Landscape CHAPTER 3 In the Time of Color: 100 David Goldblatt’s Intersections CHAPTER 4 A Waking City: 140 Guy Tillim’s Jo’burg CONCLUSION Beyond the Pale 182 BIBLIOGRAPHY 189 ii LIST OF FIGURES All figures have been removed for copyright reasons. Preface i. Cover of The Reflex, November 1935 ii. E. K. Jones, Die Voorloper, 1939 iii. E. B. King, The Reaper, c. 1935 iv. Will Till, Outa, 1946 v. Broomberg and Chanarin, Kodak Ektachrome 34 1978 frame 4, 2012 vi. Broomberg and Chanarin, Shirley 2, 2012 vii. Broomberg and Chanarin, Ceramic Polaroid Sculpture, 2012. viii. Installation view of Broomberg and Chanarin, The Polaroid Revolutionary Workers Movement at Goodman Gallery, 2013. ix. “Focusing on Black South Africa: Returning After 8 Years, Kodak Runs into White Anger” illustration, by Donald G. McNeil, Jr., The New York Times x. Gisèle Wulfsohn, Domestic worker, Ilovo, Johannesburg, 1986. Introduction 0.1 South African Airways Advertisement, 1973.
[Show full text]
• Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger
• Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger BOSCH • Julian COBBING • Gille DE VLIEG • Brett ELOFF • Don EDKINS • Ellen ELMENDORP • Graham GODDARD • Paul GRENDON • George HALLETT • Dave HARTMAN • Steven HILTON-BARBER • Mike HUTCHINGS • Lesley LAWSON • Chris LEDOCHOWSKI • John LIEBENBERG • Herbert MABUZA • Humphrey Phakade "Pax" MAGWAZA • Kentridge MATABATHA • Jimi MATTHEWS • Rafs MAYET • Vuyi Lesley MBALO • Peter MCKENZIE • Gideon MENDEL • Roger MEINTJES • Eric MILLER • Santu MOFOKENG • Deseni MOODLIAR (Soobben) • Mxolisi MOYO • Cedric NUNN • Billy PADDOCK • Myron PETERS • Biddy PARTRIDGE • Chris QWAZI • Jeevenundhan (Jeeva) RAJGOPAUL • Wendy SCHWEGMANN • Abdul SHARIFF • Cecil SOLS • Lloyd SPENCER • Guy TILLIM • Zubeida VALLIE • Paul WEINBERG • Graeme WILLIAMS • Gisele WULFSOHN • Anna ZIEMINSKI • Morris ZWI 1 AFRAPIX PHOTOGRAPHERS, BIOGRAPHICAL NOTES • Joe ALFERS Joe (Joseph) Alfers was born in 1949 in Umbumbulu in Kwazulu Natal, where his father was the Assistant Native Commissioner. He attended school and university in Pietermaritzburg, graduating from the then University of Natal with a BA.LLB in 1972. At University, he met one of the founders of Afrapix, Paul Weinberg, who was also studying law. In 1975 he joined a commercial studio in Pietermaritzburg, Eric’s Studio, as an apprentice photographer. In 1977 he joined The Natal Witness as a photographer/reporter, and in 1979 moved to the Rand Daily Mail as a photographer. In 1979, Alfers was offered a position as Photographer/Fieldworker at the National University of Lesotho on a research project, Analysis of Rock Art in Lesotho (ARAL) which made it possible for him to evade further military service. The ARAL Project ran for four years during which time Alfers developed a photographic recording system which resulted in a uniform collection of 35,000 Kodachrome slides of rock paintings, as well as 3,500 pages of detailed site reports and maps.
[Show full text]
Walther Collection Press Kit 010 06 07 A4
Events of the Self: Portraiture and Social Identity Press Kit Yto Barrada, Girl in Red, Tangier from „A Life full of Holes: „The Strait Project“, 1999, © Yto Barrada, courtesy the artist Seydou Keïta, Untitled, 1959, Gelatin silver print © Seydou Keïta, photo: Steven Bates, Courtesy CAAC - The Pigozzi Collection, Geneva Content Facts The Collection About Artur Walther Location The First Year Program: Events of the Self: Portraiture and Social Identity Artists in Events of the Self: Portraiture and Social Identity Publication Willis E. Hartshorn and Artur Walther in Conversation Facts Title of the first exhibition Events of the Self: Portraiture and Social Identity Curator Okwui Enwezor Address The Walther Collection Reichenauerstrasse 21 89233 Neu-Ulm / Germany walthercollection.com Opening Hours Thurs. - Sun., by appointment only. Please contact [email protected] Contact The Walther Collection Maria Schindelegger Reichenauerstrasse 21 89233 Neu-Ulm / Germany Tel.: +49 -731 - 1769143 [email protected] Press Contact Markus Müller Bureau Mueller Alte Schönhauser Strasse 35 10119 Berlin Tel.: +49 - 30 - 20188432, Fax: +49 - 30 - 20188575 [email protected] The Collection The Walther Collection is an international art collection dedicated to collecting and exhibiting contemporary photography and video art across recent historical periods and geographic regions. Its mission is to collect and present, through in-depth, annual exhibitions and a vigorous publishing program, works of historical and contemporary significance from artists working in Africa, Asia, and other parts of the world, whose enduring contributions to photography significantly expand the understanding, conception, and history of the medium. In addition, The Walther Collection also carefully collects a segment of modern and contemporary European and American photography, uniting the various focuses of the collection in lively, rigorous curatorial dialogue through thematic and conceptual relationships.
[Show full text]
University of Florida Thesis Or Dissertation Formatting
CONCERNING VISUAL REPRESENTATIONS OF CHILD SOLDIERS IN SIERRA LEONE By ASHLEIGH P. LYNCH A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2012 1 © 2012 Ashleigh P. Lynch 2 To my Mother and Father— My mentors, my life 3 ACKNOWLEDGMENTS I offer my sincerest gratitude to Dr. Victoria L. Rovine. She has committed her time to guiding me through this thesis recommending invaluable feedback and support for which I am truly grateful. Thanks also given to Drs. Robin Poynor and Alioune Sow who likewise invested their time and energy to see me through this research project. Broadly I thank the educators who have challenged me, and those who continue to impact my perspective in regards to history and humanity. Gainesville colleagues, keep on. I take your friendships with me. Devin—Tuzenguruke isi. Family, I love you. Your ceaseless support is ever humbling. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF ABBREVIATIONS ............................................................................................. 6 ABSTRACT ..................................................................................................................... 7 CHAPTER 1 INTRODUCTION TO THE CIVIL WAR IN SIERRA LEONE ................................... 10 Political Figures and Their Constituents .................................................................
[Show full text]
News Release
Contact: Communications Department 212-857-0045 [email protected] news release Snap Judgments: New Positions in Contemporary African Photography On view from March 10 through May 28, 2006 Media Preview March 9, 2006 9:30 - 11am RSVP: [email protected] 212.857.0045 Nontsikelelo “Lolo” Veleko Cindy and Nkuli, from “Beauty is in the Eye of the Beholder,” Johannesburg, 2003-04 © Nontsikelelo “Lolo” Veleko International Center of Photography Snap Judgments: New Positions in Contemporary African Photography is the first major U.S. exhibition in a decade to examine current photographic works from Africa. Organized for the International Center of Photography (ICP) by Okwui Enwezor, one of the world’s foremost curators of contemporary art, the exhibition will present over 200 works by 35 artists from a dozen countries. Encompassing the African continent from the Muslim cultures of North Africa to the sub-Saharan nations of the south, Snap Judgments will feature a range of highly individual artistic responses to the enormous changes now taking place in economic, social, and cultural life throughout Africa. The exhibition will be on view at ICP (1133 Avenue of the Americas at 43rd Street), its only venue, from March 10 through May 28, 2006. African photography has changed dramatically since 1996, when Mr. Enwezor organized In/Sight: African Photographers 1940 to the Present for the Guggenheim Museum. In that groundbreaking show, the studio portraiture of such now-acclaimed figures as Seidou Keïta, Malick Sidibé, and Samuel Fosso predominated. Today photography has come to play an expanded role within the spectrum of contemporary African art. Reflecting the increasingly close relation of photography with other forms of experimental art in Africa,Snap Judgments will include not only photographic works but also multimedia installations and documentation of performance art.
[Show full text]
Avenue Patrice Lumumba: Guy Tillim Free
FREE AVENUE PATRICE LUMUMBA: GUY TILLIM PDF Guy Tillim | 128 pages | 01 Jan 2009 | PRESTEL | 9783791340661 | English | Munich, Germany 5B4: Avenue Patrice Lumumba by Guy Tillim Patrice Lumumba was one of the first elected African leaders in Avenue Patrice Lumumba: Guy Tillim times. In he became the first prime minister of the Democratic Republic of the Congo after his country won independence from Belgium. He was imprisoned and murdered in circumstances suggesting the complicity of the governments of Belgium and the United States. Lumumba became revered as a liberator of independent Africa, and streets that bear his name in western and southern Africa have come to represent both the idealism and decay of an African dream. Originally a photojournalist, Guy Tillim has spent a large part of his career documenting social conflict in Africa for media agencies including Reuters and Agence France-Presse. Yet Tillim seeks not only the action and drama typical of a journalistic approach, but also quieter scenes, allowing his work to straddle the media and fine art worlds. His pictures portray the crumbling institutional buildings—post offices, schools, hotels, and offices—that were built by colonial governments in Angola, the Democratic Republic of Congo, Madagascar, and Mozambique. It was this strange contemporary mythological time. These buildings are impressive, for all their inappropriateness they nonetheless form part of a contemporary African stage. Chipping paint, worn Avenue Patrice Lumumba: Guy Tillim, toppled statues, and makeshift repairs tell stories of modernist spaces that have been neglected. In his own words:. These photographs are not collapsed histories of post-colonial African states or a meditation on aspects of late-modernist-era colonial structures, but a walk through avenues of dreams.
[Show full text]