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GÉNOCIDE RWANDAIS ET PHOTOGRAPHIE7 avril 2014 - Tous les médias reviennent sur le vingtième anniversaire du début du génocide au Rwanda. Nous avons recueilli ci-après une sélection d'articles affrontant le sujet du point de vue de la photographie, à travers les regards et les expériences de quelques photographes professionnels, rwandais ou non : - When the World Turned Its Back: James Nachtwey’s Reflections on the Rwandan Genocide, TIME LightBox ; (le journal signale un article publié le 6 avril 2011)- Portraits of Reconciliation, photos by Pieter Hugo, text by Susan Dominus, The New York Times, le 6 avril 2014 ; "“These people can’t go anywhere else — they have to make peace,” Hugo explained. “Forgiveness is not born out of some airy-fairy sense of benevolence. It’s more out of a survival instinct.” Yet the practical necessity of reconciliation does not detract from the emotional strength required of these Rwandans to forge it — or to be photographed, for that matter, side by side."- The Rwanda photographs that reunited families, par Phil Coomes, BBC News, le 4 avril 2014 ;"There are times when a photograph can raise awareness of an event and perhaps act as a catalyst for action, and at other times they can seem to be little more than an intrusion into times of sorrow. Sometimes, even when the event depicted is one of total horror, the world fails to react in a way that perhaps we'd hope it might. Of course there might be complex and diverse reasons for that.But there are also pictures that do so much more, and a set of photographs unearthed in the offices of Save the Children in Kigali, Rwanda, did just that. They are not well-crafted pictures by professionals, but Polaroid snaps that do what photography does best by providing a facsimile of the real world. These pictures changed lives, and gave some hope for their future."- Rwanda : photographier la folie humaine, par Richard Bonnet et Nicolas Grimard, Arte, le 5 avril 2014 ;(Le travail d'Alexis Cordesse dont traite ce reportage est également répertorié dans la RdP # 8)- Visualising Rwanda Reborn, par Zainab Rahim, The Plateform, sans date ;"The exhibition succeeds in presenting Rwanda’s fresh new chapter. But although it aims to extricate the view of Rwanda as a country of war and pain, it is almost entirely dependent on this depiction."- Rwanda in Photographs: Death Then, Life Now, Life Force magazine, numéro d'avril 2014 ;"Complementing the Rwandan photography is a series of portraits of “Returnees” by workshop facilitator Andrew Esiebo. These Rwandans were forced into exile following violence in 1959 and the ensuing decades. Many returned very soon after genocide – keen to participate in rebuilding the country. They come from all walks of life – from taxi drivers to bankers – and are pictured here in their place of work: the office, the studio, the construction site. Many are key figures in the Arts in Kigali."(D'autres compte-rendus de cette exposition sont archivés dans les RdP # 11 et # 10)- Revisiting the Rwandan Genocide: Origin Stories From The Associated Press, par Pamela Chen, National Geographic, le 1er avril 2014 ;- La commémoration du génocide, vingt-ans après, vue par le regard de Ben Curtis, photographe de l'AP ;- Tandis qu'Internazionale re-publie des images prises entre avril et août 1994, Le ferite del Ruanda, sans date ; Signalons par ailleurs la parution de l'ouvrage de Nathan Réra (Rwanda, entre crise morale et malaise esthétique – Les médias, la photographie et le cinéma à l’épreuve du génocide des Tutsi (1994-2014), Paris, Les presses du réel, mars 2014) sur lequel nous essaierons de revenir dans les mois à venir.PHOTOGRAPHES- Plasticité du territoire. Interview de Mame-Diarra Niang, par Anaïs Giannandrea, Afrique in visu, le 1er avril 2014 ;"Je me suis rendue très vite compte que la photographie limitait ma pensée, qu’elle ne pouvait se suffire à une image ou une série. Je suis sensiblement attachée, pour exprimer ma vision et ma pensée, à une démarche marquée par une direction vers l’art contemporain, qui me laisse beaucoup plus de possibilités et de libertés. Je profite ainsi de mes expositions pour pousser plus loin mon sujet. L’installation ne doit pas mimer, j’en suis convaincue, ce qu’il se passe dans la photo mais étirer, tester au maximum la construction et la déconstruction du sujet."- The Necessary Evil, par Léonard Pongo, Afrique in visu, le 3 avril 2014 ;- My occupation, as a photographer, is a lonely one but places humanity at its centre, Entretien avec Andrew Tshabangu, Contemporary And, sans date ;"My role in society, as a photographer, is not to present to society what it already knows; rather, I see it as that of a sensitive antenna through which society becomes aware of itself, its yearnings, dreams, abortions and miscarriages, its past, present and what it would like to be in the future. My occupation, as a photographer, like that of a writer, is a lonely one but places humanity at its centre."- Jodi Bieber: Quiet, par Hans Aschim, Cool Hunting, le 3 avril 2014 ;"It took me a full year to conceptualize this project," Bieber tells CH, "I was stricken by how men everywhere—from the gym, to politics, to sports, to business—are always in performance. There's a constant posturing of masculinity." The title of Bieber's series implies both the still tone of her composition, the atmosphere around production and the impact on the viewer."- Zanele Muholi, Visual Activist, par Eva-Lotta Jansson, Photography and Democracy, le 6 avril 2014 ;EXPOSITIONS- L'exposition "Madagascar Fragments de Vie" a été inaugurée au Futuroscope en partenariat avec le groupe Picoty, France 3 Limousin, le 3 avril 2014 ;- South African artist Robin Rhode opens exhibition at Kunstmuseum Luzern, Artdaily, sans date ;MARCHÉ DE L'ART- Art Sales: African art rescued from obscurity, par Colin Gleadell, The Telegraph, le 1er avril 2014 ;"Saatchi is often painted as a hard-nosed, manipulative speculator out for his own profit and amusement. But this show reveals a philanthropical side to his activities. In the African art section are a number of works by the Ivory Coast painter, Aboudia, and by Boris Nzebo, a painter from Cameroon. Both artists were living in poverty when Saatchi bought their work."Article qui, à juste titre, a soulevé bon nombre de critiques sur les réseaux sociaux. FESTIVALS- Festival de Knokke-Heist Haute Africa, par Jeanne Mercier, L'Oeil de la photographie, le 3 avril 2014 ;De l'Afrique décalée...PHOTOJOURNALISME- Le photojournalisme s'expose au musée de la photographie et des arts visuels de Marrakech, Art Media Agency, le 1er avril 2014 ;"C’est la troisième exposition (NDR : consacrée à Don McCullin) organisée par le Musée de la Photographie et des Arts Visuels (MMP+) dans son espace temporaire, dans le Palais Badii. Le futur musée, designé par David Chipperfield ouvrira ses portes en 2016."REPRÉSENTATIONS DU CONTINENT- Marco Casino, From Train Surfing to Townships, par Becky Harlan, National Geographic, le 1er avril 2014 ;(déjà signalé dans la RdP # 11)- David Turnley: Mandela, Struggle and Triumph, Part 1, Blog Leica, le 3 avril 2014 ;"Back in 1978 I remember being at a National Press Association seminar in Youngstown, Ohio. A black South African photographer name Peter Magubane had been invited to show his work. He had been there back in 1976 when black students in high schools in Soweto, South Africa would no longer accept being forced to learn the language of the oppressors, so they left their high schools and took to the streets. Over the course of a week there were somewhere between 300 and 800 people who were injured or killed. Peter documented the Soweto uprising in 1976 and he showed these photographs. It was very clear that he had put his life on the line. He was so eloquent and so generous of spirit. He was really the first person who exposed me to what I call a Mandela-like spirit."PROJETS- The Backstage Africa project : l'envers du décor, Senenews.com, le 6 avril 2014 ;"The Backstage Africa Project ou L’envers du décor est un projet pour le développement de la photographie de proximité comme outil d’observation et d’exploration des problèmes en milieu rural et urbain en Afrique. A travers l’objectif sociologique des photographes, le projet serait donc une sorte de plate-forme itinérante pour identifier des problèmes de Guédiawaye à Niamey, en passant par Bamako et Bobo Dioulasso."Site : http://thebackstageproject.net/- Yeelenpix, la banque d'images 100% africaine, par Cathia Dirath, Brazza-va-bien.com, sans date ;"Il est inutile de rappeler la place centrale de l’iconographie dans l’argumentaire commercial et plus encore dans le contenu éditorial. Avec l’émergence des pays du Sud, il est aujourd’hui indispensable d’offrir un visage moderne, positif de ces épopées économiques et sociales. Yeelenpix a choisi de mettre en lumière une Afrique dynamique et contemporaine.(...) Basée à Paris, Yeelenpic SAS se trouve au carrefour des échanges intercontinentaux."Site : http://www.yeelenpix.com/fr- Avec un nouveau site, le projet History in Progress Uganda (HIPUganda) met à jour son blog également. Dans le post du 2 avril 2014, le focus est mis sur la collection de la Ham Mukasa Foundation : http://www.hipuganda.org/blog/ekifananyi-images-described-by-ham-mukasa/PORTFOLIOS- Londres : Martina Bacigalupo Gulu Real Art, L'Oeil de la photographie, le 1er avril 2014 ;- Omar Victor Diop, Dakarois de cœur, Libération, le 3 avril 2014 ;LES ANNONCES DE LA SEMAINE- Communiqué de presse : Africa's Threatened Photographic Heritage Rallies International Experts in Benin, West Africa, par Resolution (www.resolutionphoto.org), le 4 avril 2014 ;(au sujet de l'atelier international qui se tiendra à Porto-Novo du 22 au 25 avril prochain (voir ici et là)"Our aim is to keep these vital visual histories alive and accessible to present and future generations. With the arts sector growing, it makes sense to work and to network regionally and cross-regionally in Africa," says Erin Haney, co-founder and co-director of Resolution.[caption id="attachment_1455" align="alignnone" width="300"] Franck Ogou and photographer Benoit Adjovi, Cotonou, Benin, c. Resolution 2013[/caption]"There is extraordinary demand, in Africa as globally, for innovative approaches  to digitizing 20th-century photographs. At the same time, digital    platforms can expand public access to collections in Africa and be responsive to African tech environments," says Jennifer Bajorek, co-founder and co-director of Resolution.-  Call for submission "Images and Democracy Exhibition", Market Photo Workshop ;"The 20 year Democracy has constantly being marred or enhanced by labour strikes, service delivery protests, public sector strikes, widening gap between the rich and the poor, and discourses on political elitism. But the country continues to celebrate the gains of a Democracy. As such, how has photography best archived and interpreted the shaping of this democracy, and how do the South African public see their individual experiences and hopes being reflected in these images?Market Photo Workshop is sending out a call to the photography community to submit photographs that defines and challenges views and experiences of a South African Democracy. Photographs have to have been taken between 1994 and 2014. All alumni and current students are eligible to participate in the exhibition.These images will be displayed in the Photo Workshop gallery as from 7th April 2014 with the public invited to engage and respond to the photographs on a daily basis."The deadline for submissions is 17 April 2014 at 12pm.(Source : le site du MPW, annonce publiée le 1er avril 2014)- Appel à participation aux 8es Rencontres internationales de la photographie de Ghar el Melh, 18-22 juin 2014 ;"Le Fort Lazaret, ou Bab Tounès, est un espace idéal pour exposer. Les Rencontres ont redonné vie à cet ancien bagne constitué de cellule de tailles différentes, en y accrochant dans chacune d’elle une exposition à part. Le nombre limité des cimaises et la demande toujours en progression des photographes désireux exposer, nous contraint, à contrecœur, à choisir les dossiers les plus intéressants. Nous offrirons cette année, à ceux qui ne seront pas retenus pour les expositions, l’opportunité de figurer dans le programme d’une soirée de projection de slideshow."Date limite d'acceptation des dossiers : 1er Mai 2014- Egyptian photographer Roger Anis wins Thomson Reuters Foundation-Nokia Photo Award, Thomson Reuters Foundation, le 2 avril 2014 ;- We need your help! Inside Out Project has reached over 100 countries,  but we are still missing many. Every newsletter, we will submit two new countries for which we do not have actions yet.Do you know anyone that would like to participate and have the opportunity to express themselves with their faces in Niger or Somalia? Send them our way at jr@insideoutproject.net! (Source : "Inside Out Project Newsletter - Recent Group Actions and the latest news!" du 31 mars 2014 - http://www.insideoutproject.net/fr)