Aida Muluneh Studio
PRESENTS
Africa Foto Fair 2023
Second Edition
Bringing the world to Africa and taking Africa to the world through images.
November 5th, 2023 – December 17th, 2023.
Abidjan, Côte d’Ivoire.
November 5th, 2023 – December 17th, 2023.
Abidjan, Côte d’Ivoire.
©Ed Kashi
The power of photography is a potent instrument for inspiration, education, and a catalyst for meaningful change..(read full statement here)
Aida Muluneh | Founder/Director
Exhibiting Photographers
Addis Aemero
Ethiopia
Addis Aemero
Ethiopia
Though trained as an agricultural economist, Ethiopian female photographer Addis has had a lifelong passion for photography. Influenced by her mother and grandfather, both photographers, Addis started working with photography at her mother's studio, assisting in developing analog photos. Her mother's studio introduced her to commercial photography, but her journey truly began when she met her grandfather, a significant influence on her decision to pursue photography.
Growing up, Addis understood that photography holds the power to preserve the past and the present for the future. Attending her first photography workshop at the Creative Futures Program, mentored by Michael Tsegaye, was a turning point. Her grandfather, who opened the first photo studio in a small town in the Amhara region of Ethiopia, became the subject of her first project and marked the beginning of her photography career.
In recent years, Addis' work has been featured in exhibitions worldwide, including Blank Wall Gallery in Athens, Greece; the Center for Photography in Ethiopia; Addis Foto Fest 2018 in Ethiopia; the Nobel Peace Center in Oslo, Norway; Homebound: A Journey in Photography at Sharjah Art Museum in UAE, and Still I Rise: In Abidjan, Côte d'Ivoire.
Addis also participated in a mentorship program under Aida Muluneh's guidance and was part of the organizing team for Addis Foto Fest, the largest photography festival in East Africa. Recently, she served as an official photographer to Her Excellency Sahle-Work Zewde, the first female president of Ethiopia. Addis Aemero is currently a freelance photographer.
"Muscle Display Performances in Ethiopia"
Bodybuilding, a sport that originated in the late 19th century and was popularized by Eugen Sandow, often referred to as the "Father of Modern Bodybuilding," has gained global recognition. The International Federation of Bodybuilding and Fitness (IFBB), established in 1946 in Canada, boasts 199 affiliated nations and stands as one of the world's largest and most active international sports federations. Despite its worldwide fame, bodybuilding remains a rarity in Ethiopia. This project aims to document the infrequent presence of this sport in Ethiopia. The Yonas BodyBuilding Show hosts annual competitions, spanning various categories from junior fitness to master bodybuilding. What sets this year's competition apart is that the winners will have the honor of representing Ethiopia in the IFBB for the first time in history.
"Muscle Display Performances in Ethiopia"
Bodybuilding, a sport that originated in the late 19th century and was popularized by Eugen Sandow, often referred to as the "Father of Modern Bodybuilding," has gained global recognition. The International Federation of Bodybuilding and Fitness (IFBB), established in 1946 in Canada, boasts 199 affiliated nations and stands as one of the world's largest and most active international sports federations. Despite its worldwide fame, bodybuilding remains a rarity in Ethiopia. This project aims to document the infrequent presence of this sport in Ethiopia. The Yonas BodyBuilding Show hosts annual competitions, spanning various categories from junior fitness to master bodybuilding. What sets this year's competition apart is that the winners will have the honor of representing Ethiopia in the IFBB for the first time in history.
Ahmed Qabel
Egypt
Ahmed Qabel
Egypt
Ahmed Qabel is a 24-year-old photographer and visual storyteller from Egypt. Discovered his passion for photography in 2018. He graduated with a bachelor's degree in accounting and business from Al-Azhar University in Cairo in 2022. In 2021/2022, he received an AFAC grant (the Arab Documentary Photography Program). Recently, in 2023, He was selected as one of the top five participants in the Canon Student Development Program. His work centers around social issues and marginalized communities.
"Cairo Return"
While traveling to the university by train, I noticed a distant sound gradually growing louder. A traveling salesman was inviting random passengers to his brother's wedding. The words "Cairo Return" were printed on third-class roundtrip train tickets, indicating the journey from the capital Cairo to my hometown of Ashmoun, situated in the southern Delta of Egypt. As I began my university education, the train became a regular part of my life, and I would make this four-hour round trip multiple times a week. Each individual on the train carries their own world and imagination, brought together by fate for a few hours at a time.
"Cairo Return"
While traveling to the university by train, I noticed a distant sound gradually growing louder. A traveling salesman was inviting random passengers to his brother's wedding. The words "Cairo Return" were printed on third-class roundtrip train tickets, indicating the journey from the capital Cairo to my hometown of Ashmoun, situated in the southern Delta of Egypt. As I began my university education, the train became a regular part of my life, and I would make this four-hour round trip multiple times a week. Each individual on the train carries their own world and imagination, brought together by fate for a few hours at a time.
Alun Be
Senegal
Alun Be
Senegal
Alun Be is a French-Senegalese photographer whose captivating images distinguish themselves through profound expression in high contrast. Born in Dakar, Senegal, his diverse approach has carved a niche suspended between his upbringing in West Africa, France, and the United States. He studied at the University of Miami, before completing a master's degree in architecture at the San Francisco Academy of Art. In 2015, his photography is revealed for the first time to the public at the Universal Expo of Milan, Italy. Since then, his art has been exhibited worldwide.
Since then, Be has exhibited at the Dakar Biennale (2018), the Museum of Contemporary Photography in Chicago (2018), the Musée du Quai Branly in Paris (2021) among others, and has spoken at TEDxNapoli and TEDxWanChai Salon. His photography series mainly deal with intergenerationally, women's empowerment, and technology. Alun's art form is constantly evolving through personal projects focused on the human condition in societies. In his photography, he manages to capture both the beauty and the contrasts of his subjects and think his work as a dialogue without words. He lives and work between West Africa and Europe.
“Resilience”
Resilience is a leap into the profound consciousness that resides within life. As in dreams, at times we do not remember the vivid representations of the subconscious and yet they deeply impact our lives. Existence appears to be a line to follow from which we hope to bring forth reasons to be. The child that we once were, pure and innocent, echoes the perfect conundrum. In revealing our vulnerability our flaws become our strengths, just as the sacred feminine experiences life while birthing it. The masks hold the knowledge of time, they nourish the unconscious part of the self, beyond the physical realm as to unraveling its sacrosanctity. The main character, us, draws from the well of life through a portal of oneiric imagery to seek meaning into existence. We journey through a plethora of eruditions, that in turns reveals the elucidation of life lessons and experiences. As we accumulate more knowledge it points back to the evidence of our ignorance. Resilience, or returning to silence, is rooting ourselves back to where it all started. The destination is the point of origin in finding our absolution. Although water symbolizes life, it equally holds the power to take it. Anchoring ourselves into the unknown is ominous, yet for those who find the courage to face hardship by remaining still… Silence.
“Resilience”
Resilience is a leap into the profound consciousness that resides within life. As in dreams, at times we do not remember the vivid representations of the subconscious and yet they deeply impact our lives. Existence appears to be a line to follow from which we hope to bring forth reasons to be. The child that we once were, pure and innocent, echoes the perfect conundrum. In revealing our vulnerability our flaws become our strengths, just as the sacred feminine experiences life while birthing it. The masks hold the knowledge of time, they nourish the unconscious part of the self, beyond the physical realm as to unraveling its sacrosanctity. The main character, us, draws from the well of life through a portal of oneiric imagery to seek meaning into existence. We journey through a plethora of eruditions, that in turns reveals the elucidation of life lessons and experiences. As we accumulate more knowledge it points back to the evidence of our ignorance. Resilience, or returning to silence, is rooting ourselves back to where it all started. The destination is the point of origin in finding our absolution. Although water symbolizes life, it equally holds the power to take it. Anchoring ourselves into the unknown is ominous, yet for those who find the courage to face hardship by remaining still… Silence.
Amina Kadous
Egypt
Amina Kadous
Egypt
Amina Kadous (1991-) is a visual artist based in Cairo, Egypt. Her work tackles concepts of memory and identity. She believes in the ephemerality of experience and that Nothing lasts, documentation of experiences, of the objects and moments of the physical world, only lasts when it is passed on. Perceiving a photograph as an object that holds memories and meanings, a keepsake that gives life. Photography as an art has been a medium allowing her to treasure, hold, and bless the past she has not lived but only through the stories and eyes of those who have narrated it. Her work is a linkage between the past and present through the layers of time as they fold and unfold. Her work has been exhibited locally and internationally. She exhibited as part of the Photography Biennale of the Contemporary Arab World at the Cite Des Arts in Paris in 2019. She participated at the 12th edition of the Bamako Biennale of Photography and was awarded the Centre Soleil d’Afrique Prize for her project, “A Crack in the Memory of My Memory”. This prize is awarded to an outstanding female artist from Africa whose work shows signs of promise and development. Her work was also exhibited at the AfriKa Museum and Tropen Museum in the Netherlands as part of the World Press group exhibition,“ Connecting Views: Talents from the APJD”. She was awarded a grant from the Magnum Foundation and Prince Claus Foundation and was one of the top ten finalists for the Everyday Projects grant for her current long-term series “ White Gold”. Recently she was awarded the Contemporary African Photography Prize 2022 and showed the first chapter of her series part of the group exhibition, “If a Tree Falls in a forest” in Arles Photography Festival, France in 2022 for which she was awarded the Prix De La Photo Madame Figaro at Arles photography festival in 2022, awarded for an emerging female photographer.
“White Gold“
The first seeds of my identity were planted in El Mehalla Al Kobra, my home, known for its association with Egyptian cotton. Often referred to as the citadel of industry, it was once a bustling hub for the harvesting and spinning of white cotton. My great-grandfather, a silk and wool merchant, was among the pioneers in El Mehalla, contributing to the early stages of the burgeoning textile trade. The lineage of my cotton threads stretches back through three generations. In 1969, he established his textile factory, and my father joined the family business in the 1980s. As I endeavor to weave the fabric of my personal identity, I examine the historical and current bonds within my family. Amidst the intricate threads of our history, I find a profound sense of belonging, the realization that I am a part of something greater. Uprooted and extracted from its native soil, I see a reflection of my own journey in that of cotton. Both the plant and the human experience a sense of loss and fragmentation, struggling to weave together our common threads. We endure internal and external transformations as we strive to adapt to the ever-changing external world. Amid the shifting socio-political, urban, and economic landscape of Egypt, I cling to my deep-rooted heritage. I draw inspiration from the legacies of my grandparents, their archives, and the discovered artifacts to depict the beauty, challenges, and resilience of my people, myself, and my identity. "White Gold" represents an ongoing quest to understand my personal and national identity. It embodies a cycle of loss and potential, continuously questioning what defines us. This journey is about becoming and a collective effort to exist, to preserve and internalize our memories, ensuring the vitality of our history. Through this work, I strive to reconnect with and collect the remnants of our fading cotton seeds, exploring what was once one of our most crucial industries deeply interwoven into our shared fabric. Beneath these layers lies the lineage of Egypt, spanning from the past to the present. It prompts us to consider what might have been, what we have lost, and what possibilities still lie ahead.
“White Gold“
The first seeds of my identity were planted in El Mehalla Al Kobra, my home, known for its association with Egyptian cotton. Often referred to as the citadel of industry, it was once a bustling hub for the harvesting and spinning of white cotton. My great-grandfather, a silk and wool merchant, was among the pioneers in El Mehalla, contributing to the early stages of the burgeoning textile trade. The lineage of my cotton threads stretches back through three generations. In 1969, he established his textile factory, and my father joined the family business in the 1980s. As I endeavor to weave the fabric of my personal identity, I examine the historical and current bonds within my family. Amidst the intricate threads of our history, I find a profound sense of belonging, the realization that I am a part of something greater. Uprooted and extracted from its native soil, I see a reflection of my own journey in that of cotton. Both the plant and the human experience a sense of loss and fragmentation, struggling to weave together our common threads. We endure internal and external transformations as we strive to adapt to the ever-changing external world. Amid the shifting socio-political, urban, and economic landscape of Egypt, I cling to my deep-rooted heritage. I draw inspiration from the legacies of my grandparents, their archives, and the discovered artifacts to depict the beauty, challenges, and resilience of my people, myself, and my identity. "White Gold" represents an ongoing quest to understand my personal and national identity. It embodies a cycle of loss and potential, continuously questioning what defines us. This journey is about becoming and a collective effort to exist, to preserve and internalize our memories, ensuring the vitality of our history. Through this work, I strive to reconnect with and collect the remnants of our fading cotton seeds, exploring what was once one of our most crucial industries deeply interwoven into our shared fabric. Beneath these layers lies the lineage of Egypt, spanning from the past to the present. It prompts us to consider what might have been, what we have lost, and what possibilities still lie ahead.
Angélica Dass
Brazil
Angélica Dass
Brazil
Angélica Dass 1979; lives and works between Rio de Janeiro, Brazil and Madrid, Spain. Angélica Dass holds BA in Fine Arts at UFRJ, Brazil, and MA in Photography at EFTI (Spain) and her practice combines photography with sociological research and public participation in the global defense of human rights. Her work has been featured at the World Economic Forum (Davos), UN-Habitat III, London Migration Museum, The Hague Museum, Lausanne Musée de l'Elysée, Dublin Science Gallery, PhotoEspaña; to the streets and museums of Madrid, Bilbao, Chiasso, Zagreb, Milan, Thessaloniki, Tel Aviv, São Paulo, Mexico City, Bogotá, Pittsburg, Kingsport, Seoul, and many other cities; to the pages of National Geographic, Time Magazine, Foreign Affair, BBC and many relevant media. Angélica’s work has also transcended the museums and found in school classrooms a great universe of work, amplifying the educational message of her practice through institutional collaborations with city councils, government institutions, or international organizations. She is also a powerful and inspiring speaker who has lectured at important organizations, such as TED, the University of Salamanca, University of Bologna, UERJ - Rio de Janeiro; National Geographic, and the World Economic Forum, as a cultural leader.
“280 Chibatadas”
Chibatada (feminine noun) from Portuguese She was whipping with the “chibata”. Chibata (feminine noun). A thin and flexible stick used to hit people or animals; [By Extension] Thin strip of leather used to lash, punish; whip. [Figured] Body punishment applied with “chibata”. [Figured] Circumstance of one oppressed, deprived of his freedom, especially in suffering or under punishment: he wanted to get out of that life of “chibata”. Brazil was the last country in Latin America that formally abolished slavery after receiving more African enslaved than any other country from the sixteenth century. It’s also one of the countries that brag the most about its "racial mix and diversity". In 1988, on the centennial of abolition, in a survey led by the University of São Paulo, 96% of those interviewed said they had no racial prejudices, but 99% also said they knew someone who did. "Every Brazilian feel like an island of racial democracy, surrounded by racists everywhere." The photographs from a family album of a girl of African descent invite us to participate in a game evoking an average person’s childhood and everyday life. A 280-character tweet is enough to strip bare the “tableau of Brazilian wonders”, transforming the spectator into a questioner facing brutal banalities and a fatal dehumanization of the other, in absolute contemporaneity. In the XXI Century, the internet reaffirms a daily reality that shows the enormous strength of the "unique history" and the inheritance of its inventors or transmitters, becoming part of the common imaginary, degraded in tones and self-concepts, but omnipresent despite the symbolic gestures that cease to be significant to be simply exculpatory. The aberrant becomes natural and unpunished. Tweets between 2014 and 2019 and Angelica’s family album images can point out de beauty and the horror of being African descendants in Brazil.
“280 Chibatadas”
Chibatada (feminine noun) from Portuguese She was whipping with the “chibata”. Chibata (feminine noun). A thin and flexible stick used to hit people or animals; [By Extension] Thin strip of leather used to lash, punish; whip. [Figured] Body punishment applied with “chibata”. [Figured] Circumstance of one oppressed, deprived of his freedom, especially in suffering or under punishment: he wanted to get out of that life of “chibata”. Brazil was the last country in Latin America that formally abolished slavery after receiving more African enslaved than any other country from the sixteenth century. It’s also one of the countries that brag the most about its "racial mix and diversity". In 1988, on the centennial of abolition, in a survey led by the University of São Paulo, 96% of those interviewed said they had no racial prejudices, but 99% also said they knew someone who did. "Every Brazilian feel like an island of racial democracy, surrounded by racists everywhere." The photographs from a family album of a girl of African descent invite us to participate in a game evoking an average person’s childhood and everyday life. A 280-character tweet is enough to strip bare the “tableau of Brazilian wonders”, transforming the spectator into a questioner facing brutal banalities and a fatal dehumanization of the other, in absolute contemporaneity. In the XXI Century, the internet reaffirms a daily reality that shows the enormous strength of the "unique history" and the inheritance of its inventors or transmitters, becoming part of the common imaginary, degraded in tones and self-concepts, but omnipresent despite the symbolic gestures that cease to be significant to be simply exculpatory. The aberrant becomes natural and unpunished. Tweets between 2014 and 2019 and Angelica’s family album images can point out de beauty and the horror of being African descendants in Brazil.
Apah Benson
Nigeria
Apah Benson
Nigeria
Apah Benson, a photographer from Delta State, Nigeria, embarked on a journey driven by an insatiable curiosity to encapsulate life within a single frame. This journey initially led him into the realm of poetry, where he found solace. However, his yearning to create visual metaphors and vivid renditions of his thoughts drew him to photography about six years ago.
Photography entered Apah's life during a period of profound uncertainty, initially pursued as a survival skill but quickly evolving into a consuming passion. Throughout his photographic journey, Apah focused on fine art and portraiture, often centering his work around themes like empowerment of dark skin tones, social issues, and the interplay of shadows and colors. His artistic vision is drawn to creating pieces that encourage viewers to appreciate the ordinary. He achieves this with shadows, vibrant colors, and local objects, primarily using natural light. All his work is created in Delta State, Nigeria.
"The Art of Portraiture"
"The Art of Portraiture" is a captivating photography collection that delves into the profound essence of portraiture in photography. Through a captivating series of images, this collection celebrates the timeless beauty of human subjects and sparks conversations about artistry, composition, and the interplay of emotions and natural light in portraiture. In each carefully crafted photograph, "The Art of Portraiture" weaves together the elements that define photographic excellence. Each image resonates with a harmonious blend of composition, showcasing the photographer's eye for balance, framing, and visual storytelling. The collection is a testament to portraiture's ability to capture the complexities of the human spirit.
What sets this collection apart is its celebration of dark skin tones, rooted in an appreciation for Africanism. These portraits radiate pride and authenticity, showcasing black skin in all its glory. "The Art of Portraiture" challenges beauty standards and underscores the magnificence of melanin's darkest shade. Through these photographs, viewers witness unspoken stories and emotions within each subject. The interplay of natural light and shadow adds depth to these portraits, capturing moments that evoke empathy, joy, and contemplation.
"The Art of Portraiture"
"The Art of Portraiture" is a captivating photography collection that delves into the profound essence of portraiture in photography. Through a captivating series of images, this collection celebrates the timeless beauty of human subjects and sparks conversations about artistry, composition, and the interplay of emotions and natural light in portraiture. In each carefully crafted photograph, "The Art of Portraiture" weaves together the elements that define photographic excellence. Each image resonates with a harmonious blend of composition, showcasing the photographer's eye for balance, framing, and visual storytelling. The collection is a testament to portraiture's ability to capture the complexities of the human spirit.
What sets this collection apart is its celebration of dark skin tones, rooted in an appreciation for Africanism. These portraits radiate pride and authenticity, showcasing black skin in all its glory. "The Art of Portraiture" challenges beauty standards and underscores the magnificence of melanin's darkest shade. Through these photographs, viewers witness unspoken stories and emotions within each subject. The interplay of natural light and shadow adds depth to these portraits, capturing moments that evoke empathy, joy, and contemplation.
Atelier Ndokette
Senegal
Atelier Ndokette
Senegal
Atelier Ndokette is a transdisciplinary art collective operating at the intersection of photography, textiles, and installations. The inception of Atelier Ndokette can be traced back to our first self-built project, known as the "Ndokette Session," which took place in 2019. This project serves as an ongoing and open dialogue addressing topics such as communities and individuals. Over time, Atelier Ndokette has evolved into a collaborative workspace and an open creative environment. The collective's efforts revolve around research projects and commissioned works of various scales. Within the collective, Safi Niang has developed a practice centered on textiles and painting. She utilizes colors and textures to portray landscapes that blur the line between the material and the immaterial.
Souleymane Bachir Diaw is a fine art photographer with a primary focus on personal and collective narratives, exploring the intricate complexities of their interconnections. Ibrahim Ndome has a profound interest in clothing and textiles, particularly in the emotions they convey. As a result, these mediums have become his primary vehicles for artistic expression, often incorporating influences from dance to poetry. They combine their respective practices to collaborate using the same medium or adopt a transdisciplinary approach, allowing their diverse mediums to interact and create unique artistic experiences.
“Ndokette Session”
With Ndokette Session, Atelier Ndokette offers a journey into their daily lives where memories and artifacts intersect. The Ndokette is a tunic worn by women that is distinguished by its sewing, its materials, and the way it is worn. The practice of the collective is close to the experience of the object and the knowledge of the gesture: of knowing and doing of craft. The craft represents this living memory where heritage, fashion, and use meet.
“Ndokette Session”
With Ndokette Session, Atelier Ndokette offers a journey into their daily lives where memories and artifacts intersect. The Ndokette is a tunic worn by women that is distinguished by its sewing, its materials, and the way it is worn. The practice of the collective is close to the experience of the object and the knowledge of the gesture: of knowing and doing of craft. The craft represents this living memory where heritage, fashion, and use meet.
Ayomitunde Adeleke
Nigeria
Ayomitunde Adeleke
Nigeria
Ayomitunde Adeleke is a botanist and a self-taught documentary photographer based in Lagos, Nigeria. Adeleke's work focuses on documenting human spatial-temporal moments and societal issues relating to man. Adeleke's work focuses on documenting human spatial-temporal moments and societal issues relating to man and his environment.
His work is a study depicting a person from diverse social-cultural backgrounds that explores and questions societal imbalances and inadequacies with the hope of finding solutions. It is a visual narrative that actively seeks to engage with society and its conscience. Adeleke regularly experiments with innovative ideas and mediums and has succeeded in creating a niche for himself as a reputable visual artist.
His works have been featured in The Guardian UK, The Sunday Times UK, World Press Photo, and so on, His results have been published in magazines, websites, and Exhibitions such as Open Society Foundation, The Bright Continent, Lost in Lagos, and " Whither I Stand And The Trajectory Of Vision" at the 12th edition of the Bamako Encounters in 2019. He was a Top 5 finalist of the ArtX Prize and also one of the winners of the PHmuseum x AAF Prize He is a member of the African Photojournalism Database (APJD) - a joint project with World Press Photo and Everyday Africa.
“Sun, not salt.”
After two years of working as a botanist and photographer on climate and environmental stories, Ayomitunde decided to initiate an investigative visual project focusing on how climate change impacts people living with albinism. There is evidence suggesting that rising temperatures increase the risk of skin cancer, a significant threat to people with albinism. In Nigeria, the connection is often misunderstood, with some attributing the symptoms to excessive salt consumption.
The ripple effects of climate change have disproportionately affected this group. Individuals with albinism are facing alarming mortality rates due to the worsening weather conditions resulting from global climate change. Their lives become exceedingly challenging as they are sensitive to high temperatures, which increase their risk of skin cancer, a leading cause of death among African albinos. Exposure to ultraviolet light is a major risk factor for these cancers. Additionally, late presentation and financial difficulties in completing treatment due to a lack of government-provided health insurance are significant challenges faced by albinos in Nigeria.
Various myths about albinism persist among different Nigerian tribes, such as the Yorubas and Hausas. For instance, there is a misconception that albinos should avoid salty foods, believing it causes dark spots on their skin. Symptoms resulting from extreme heatwaves are often misinterpreted as salt-related, leading to tragic consequences.
Dr. Samuel Adesina Ademola's article titled "AN ANALYSIS OF SKIN CANCER IN ALBINOS IN IBADAN" sheds light on the severity of the risks faced by albinos. Approximately 1 in 20,000 people have this condition, with a reported 67% of primary skin cancer patients at a hospital in Eastern Nigeria having albinism.
“Sun, not salt.”
After two years of working as a botanist and photographer on climate and environmental stories, Ayomitunde decided to initiate an investigative visual project focusing on how climate change impacts people living with albinism. There is evidence suggesting that rising temperatures increase the risk of skin cancer, a significant threat to people with albinism. In Nigeria, the connection is often misunderstood, with some attributing the symptoms to excessive salt consumption.
The ripple effects of climate change have disproportionately affected this group. Individuals with albinism are facing alarming mortality rates due to the worsening weather conditions resulting from global climate change. Their lives become exceedingly challenging as they are sensitive to high temperatures, which increase their risk of skin cancer, a leading cause of death among African albinos. Exposure to ultraviolet light is a major risk factor for these cancers. Additionally, late presentation and financial difficulties in completing treatment due to a lack of government-provided health insurance are significant challenges faced by albinos in Nigeria.
Various myths about albinism persist among different Nigerian tribes, such as the Yorubas and Hausas. For instance, there is a misconception that albinos should avoid salty foods, believing it causes dark spots on their skin. Symptoms resulting from extreme heatwaves are often misinterpreted as salt-related, leading to tragic consequences.
Dr. Samuel Adesina Ademola's article titled "AN ANALYSIS OF SKIN CANCER IN ALBINOS IN IBADAN" sheds light on the severity of the risks faced by albinos. Approximately 1 in 20,000 people have this condition, with a reported 67% of primary skin cancer patients at a hospital in Eastern Nigeria having albinism.
Bade fuwa
Nigeria
Bade fuwa
Nigeria
Bade Fuwa is a Nigerian photographer living and working in Lagos, Nigeria. Fuwa is a self-taught photographer whose images are inspired by both the complexities of nature, his own personal life and the death of his mother. Fuwa choreographs an intimacy that is both reminiscent and sentimental, with an idyllic and dreamy feel. His lens captures tranquility recurring in his own distinctive style.
“Beauty and the beast”
Every man is a beast that needs a tame.
“Beauty and the beast”
Every man is a beast that needs a tame.
Carolina Arantes
Brazil
Carolina Arantes
Brazil
Carolina Arantes is a Brazilian documentary photographer, naturalised French and working internationally. Carolina has received several important photographic grants and awards (such as Firecracker and the Jean-Luc Lagardère Foundation grant). Carolina was the artist invited by the Centre George Pompidou to confer on Storytelling during the thematic year "Elles font l’Art »(2020); She also developed artistic projects and conferences organised by the Museum. Her work is part of public collections and has been published in renowned international media. She has been a National Geographic Explorer since 2020.
Born in Minas Gerais, Brazil, in 1980, Carolina grew up between the countryside of Minas Gerais and the megalopolis of Sao Paulo where she graduated with a Photography degree at SENAC and Social Communication/Journalism at the Catholic University. After two years working as a trainee journalist, she went to a master’s degree in Cultural Project Development at Barcelona University in 2006. Carolina was already pursuing a Photographic personal activity since a teenager but, it was in 2008 that she realised the magnitude Photography had taken in her life. Gender and Identity issues were always important questions in her personal and professional life.The fact of coming from a country where female roles are difficult to change and representation structures are fragile, Carolina was intrigued about how colonial history is still present in democracies today. These issues are present at her main personal projects, involving concerned communities and developing reflections into actions.
Her book « First Génération » has been among the Best Of at « Nuit de l’Année » at Rencontres d’Arles and been on projection all over the Photo Festival. Her ongoing Story « Tombamento » is part of a collective platform of representation and empowerment to the Afro-LGBTQIA+ and Afro-Feminist youth in Brazil: Fervo2K20. It has won the Human Rights Grant Fundo Brasil in 2020.
“First Generation”
First Generation is a photographic documentary about the first generation of French women of African ascendency born in France. In African immigration’s history of France, familiar reunifications happened between 1975 and 1980, making the young African descendants born in the country, the first Afro-French generation. Not seen as French in France nor as African in their parents’ original countries, these women’s daily life is a quest for identity while fighting for a socio-cultural place that will legitimize their mixed culture. Having to transcend the conflict between a sense of not belonging and their nationality, these women live in middle of a European traditional culture and the African education of their parents, between colonialism and cosmopolitanism, between one generation and another; many use the word Schizophrenie to describe how it is to construct their identity in the middle of two antagonistic cultures. Integration is a well-known important problem in the recent history of France and Europe, and the place of women in this process is a very important issue, as they are still responsible for caring together family and culture transmission. First Generation aims to reveal how a first generation, with no way back to the past, is breaking up the French culture to place this newborn identity. Published by Fisheye Editions in November 2022, FIRST GÉNÉRATION is a Photo book where documentary images are aligned with many interviews with the women and archive images from their childhood. The book and the Story are a collective engagement with the women participants for telling their Story in France today. FIRST GENERATION has been selected by Rencontres d’Arles Festival among the Best of « Nuit de l’Année » and has been exhibited as a projection at the festival in 2023.
“First Generation”
First Generation is a photographic documentary about the first generation of French women of African ascendency born in France. In African immigration’s history of France, familiar reunifications happened between 1975 and 1980, making the young African descendants born in the country, the first Afro-French generation. Not seen as French in France nor as African in their parents’ original countries, these women’s daily life is a quest for identity while fighting for a socio-cultural place that will legitimize their mixed culture. Having to transcend the conflict between a sense of not belonging and their nationality, these women live in middle of a European traditional culture and the African education of their parents, between colonialism and cosmopolitanism, between one generation and another; many use the word Schizophrenie to describe how it is to construct their identity in the middle of two antagonistic cultures. Integration is a well-known important problem in the recent history of France and Europe, and the place of women in this process is a very important issue, as they are still responsible for caring together family and culture transmission. First Generation aims to reveal how a first generation, with no way back to the past, is breaking up the French culture to place this newborn identity. Published by Fisheye Editions in November 2022, FIRST GÉNÉRATION is a Photo book where documentary images are aligned with many interviews with the women and archive images from their childhood. The book and the Story are a collective engagement with the women participants for telling their Story in France today. FIRST GENERATION has been selected by Rencontres d’Arles Festival among the Best of « Nuit de l’Année » and has been exhibited as a projection at the festival in 2023.
Chiara Wettmann
Germany
Chiara Wettmann
Germany
Chiara Wettmann (*1993) lives and works as a documentary photographer between Berlin and Beirut. In 2022 she graduated from the renowned Ostkreuzschule für Fotografie in Berlin.
In her work she deals with geopolitical and social Issues and the influence on individuals. Her work has been shown in international exhibitions in Amsterdam, Athens, Barcelona, Berlin, Paris, Ouagadougou and other cities. In 2019, she was a participant of the Canon Student Program. Her latest work "stateless - How stateless people face discrimination in Lebanon '' was created between 2021- 2022 in Lebanon. For this she received several Awards and was a finalist for the World Report Award 2022.
Since April 2023 she has been a member of Focus Agency and continues to work on the Issue of statelessness in the Middle East and West Africa.
“Stateless - How stateless people face discrimination in Lebanon.”
Stateless people are not protected by any state or law. They are denied basic human rights. Stateless people cannot vote. They cannot register their children at birth. State education and health systems often remain closed to them. Opening bank accounts, signing contracts, traveling - even this is almost impossible without being officially registered. This is the reality for over 60,000 people in Lebanon: unregistered Lebanese who pass on their statelessness to their children, Palestinians whose families have lived in Lebanon for generations and yet are not granted citizenship. Or refugees from Syria and Iraq who have lost their citizenship because of their war-torn homelands. In a world where our existence is defined by state affiliation, they do not belong. Not only people in Lebanon are affected. Statelessness is a global problem. The UNHCR, the United Nations Refugee Agency, estimates that approximately 4.2 million people worldwide are stateless. Experts estimate that there are around 10 million. This makes it more important to show stateless people and their situation and to enable them to tell their stories.
“Stateless - How stateless people face discrimination in Lebanon.”
Stateless people are not protected by any state or law. They are denied basic human rights. Stateless people cannot vote. They cannot register their children at birth. State education and health systems often remain closed to them. Opening bank accounts, signing contracts, traveling - even this is almost impossible without being officially registered. This is the reality for over 60,000 people in Lebanon: unregistered Lebanese who pass on their statelessness to their children, Palestinians whose families have lived in Lebanon for generations and yet are not granted citizenship. Or refugees from Syria and Iraq who have lost their citizenship because of their war-torn homelands. In a world where our existence is defined by state affiliation, they do not belong. Not only people in Lebanon are affected. Statelessness is a global problem. The UNHCR, the United Nations Refugee Agency, estimates that approximately 4.2 million people worldwide are stateless. Experts estimate that there are around 10 million. This makes it more important to show stateless people and their situation and to enable them to tell their stories.
Daniel Buuma
DRC
Daniel Buuma
DRC
Daniel Buuma is a photojournalist based in Goma, in the Democratic Republic of Congo's eastern region. He stands out as one of the few young individuals in his area who have pursued a career in media. His primary motivation is to capture and immortalize the often distressing daily events in his home province, North Kivu.
In 2022, Daniel received a scholarship from the VII Academy, an educational department of the VII Foundation, for a photojournalism and documentary seminar directed by Stefano de Luigi, a 30-year expert in the field. This seminar focused on photojournalism, visual documentary, media reporting, journalistic narration, and ethics.
Under this guidance, Daniel completed two significant projects. "Kivu Displaced" sheds light on the hardships faced by those displaced due to the conflict imposed by the M23 rebels in Rutshuru, Nyiragongo, and Masisi. "The Way of Freedom" is a photo report created in collaboration with civil society organizations in Goma and Rutshuru.
In 2023, Daniel unveiled his third project, "Mazingira," highlighting deforestation and logging inside Virunga National Park, carried out by displaced individuals as a means of survival during challenging times.
With a degree in sustainable development from ISDR, Daniel Buuma is consistently active and vigilant in documenting events in his surroundings, aiming to inspire a vision of a better world. Notably, he was one of ten candidates selected for level two of the training seminar, a 12-week program, similar to the first, with guidance from Maciek Nabrdalik. As a dedicated photojournalist, Daniel is committed to capturing the world's poignant moments with dedication and a remarkable sense of responsibility.
"KIVU DISPLACEMENTS"
Since the beginning of 2022, over 877,000 individuals have been internally displaced in the Democratic Republic of the Congo (DRC), with nearly 4.86 million affected in total. Women make up 51% of this displaced population. More than 80 percent of these displacements are the result of attacks and armed clashes.
North Kivu and Ituri are the provinces that have received the highest number of returnees over the past three months. According to the Office for the Coordination of Humanitarian Affairs (OCHA), as of August 5, 2022, clashes involving the M23 group have led to the displacement of more than 600,000 people from the Rutshuru, Nyiragongo, and Masisi regions. These displaced individuals have banded together to construct makeshift housing, while others have utilized school facilities as temporary shelters, all in the hope of achieving lasting peace in their home region around Goma, in the Eastern Democratic Republic of Congo.
"KIVU DISPLACEMENTS"
Since the beginning of 2022, over 877,000 individuals have been internally displaced in the Democratic Republic of the Congo (DRC), with nearly 4.86 million affected in total. Women make up 51% of this displaced population. More than 80 percent of these displacements are the result of attacks and armed clashes.
North Kivu and Ituri are the provinces that have received the highest number of returnees over the past three months. According to the Office for the Coordination of Humanitarian Affairs (OCHA), as of August 5, 2022, clashes involving the M23 group have led to the displacement of more than 600,000 people from the Rutshuru, Nyiragongo, and Masisi regions. These displaced individuals have banded together to construct makeshift housing, while others have utilized school facilities as temporary shelters, all in the hope of achieving lasting peace in their home region around Goma, in the Eastern Democratic Republic of Congo.
Ed Kashi
USA
Ed Kashi
USA
Ed Kashi is a prolific photojournalist, filmmaker, speaker, and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. Kashi’s work has been honored with major awards from World Press Photo, POYi and many others, exhibited around the world and published in the major magazines, websites, and newspapers globally. His 14th and latest book, Abandoned Moments: A Love Letter to Photography, is out now.
“Curse of the Black Gold: Fifty Years of Oil in The Niger Delta.”
Curse of the Black Gold: Fifty Years of Oil in The Niger Delta takes a graphic look at the profound cost of oil exploitation in West Africa, featuring images by world-renowned photojournalist Ed Kashi. Now one of the major suppliers of U.S. oil, Nigeria is one of the tenth largest producers of oil in the world. Set against a backdrop of what has been called the scramble for African oil, Curse of Black Gold documents the consequences of a half-century of oil exploration and production in one of the world’s foremost centers of biodiversity. This work exposes the harsh reality of oil’s impact and the absence of sustainable development in its wake, providing a compelling pictorial history of one of the world’s great deltaic areas. Kashi’s photographs capture local leaders, armed militants, oil workers, and nameless villagers, all of whose fate is inextricably linked. His exclusive coverage bears witness to the ongoing struggles of local communities, illustrating the paradox of poverty in the midst of plenty. A book by the same name was published by powerHouse Books in 2008.
“Curse of the Black Gold: Fifty Years of Oil in The Niger Delta.”
Curse of the Black Gold: Fifty Years of Oil in The Niger Delta takes a graphic look at the profound cost of oil exploitation in West Africa, featuring images by world-renowned photojournalist Ed Kashi. Now one of the major suppliers of U.S. oil, Nigeria is one of the tenth largest producers of oil in the world. Set against a backdrop of what has been called the scramble for African oil, Curse of Black Gold documents the consequences of a half-century of oil exploration and production in one of the world’s foremost centers of biodiversity. This work exposes the harsh reality of oil’s impact and the absence of sustainable development in its wake, providing a compelling pictorial history of one of the world’s great deltaic areas. Kashi’s photographs capture local leaders, armed militants, oil workers, and nameless villagers, all of whose fate is inextricably linked. His exclusive coverage bears witness to the ongoing struggles of local communities, illustrating the paradox of poverty in the midst of plenty. A book by the same name was published by powerHouse Books in 2008.
Diallo Mamadou
Côte d'Ivoire
Diallo Mamadou
Côte d'Ivoire
Diallo Mamadou, nicknamed Dragoste, was born on December 22, 1998, in Côte d'Ivoire. He is a renowned Ivorian photographer known for his photographs of urban life and landscapes. Primarily working in black and white, his main themes revolve around love and life in Africa.
"Precarity"
Precarity, due to its impact on diverse populations, often appears to suffer from a vague definition. It's as if the ambiguity of the container generates ambiguity in its content. Precarity also seems at times subservient to poverty, as if it were merely a substitute or an extension of the latter. However, it's crucial to distinguish precarity from poverty, as they do not unfold in the same timeframe. Every society has its impoverished, but this doesn't automatically mean it counts its precariously situated individuals. To define precarity, it's necessary to separate it from poverty. While poverty can be measured and is indeed measured, for instance, through the poverty rate compared to the standard of living, it's different for precarity. The latter is essentially subjective, a feeling that doesn't always correspond to economic reality. Therefore, precarity is no more quantifiable than pauperism was. In this article, our aim is to define the contours of precarity and, in doing so, distinguish its various forms.
"Precarity"
Precarity, due to its impact on diverse populations, often appears to suffer from a vague definition. It's as if the ambiguity of the container generates ambiguity in its content. Precarity also seems at times subservient to poverty, as if it were merely a substitute or an extension of the latter. However, it's crucial to distinguish precarity from poverty, as they do not unfold in the same timeframe. Every society has its impoverished, but this doesn't automatically mean it counts its precariously situated individuals. To define precarity, it's necessary to separate it from poverty. While poverty can be measured and is indeed measured, for instance, through the poverty rate compared to the standard of living, it's different for precarity. The latter is essentially subjective, a feeling that doesn't always correspond to economic reality. Therefore, precarity is no more quantifiable than pauperism was. In this article, our aim is to define the contours of precarity and, in doing so, distinguish its various forms.
Ebenezer Okike
Nigeria
Ebenezer Okike
Nigeria
Ebenezer Okike, a documentary photographer hailing from Nigeria, has immersed himself in the exploration of pressing issues within Southern Nigeria. His initial focus was on documenting immigration and education in Cross River State, particularly as it serves as a haven for Cameroonians escaping the Ambazonian conflict. This endeavor marked the inception of his first documentary project.
Over time, Okike's story telling approach has evolved, emphasizing the spotlight on a new generation marked by emerging stereotypes and aspirations. He reaches out to communities and employs artistic representation to narrate stories that transcend the present, delving into innate characteristics that have either shaped cultures or been shaped by them.
His photographic works have found recognition in publications such as Fisheye Magazine, Photoletter, Tellthatstory, and Itchysilk Magazine. Okike has actively participated in various workshops, including those with acclaimed figures like Emma Hardy, Rosey Lakos, and Pascal Maitre, among others. His current practice integrates artistic elements to convey his ideas, hopes, struggles, and perspectives on societal beliefs in everyday life. Presently serving as the gallery assistant at Omenka gallery, Okike is also a member of the African Photojournalism Database, residing and working in Lagos.
“This could be anywhere but it's Lagos”
The search for a universal meaning through photography pushed me to start a project which I titled, “This Could Be Anywhere but It’s Lagos.” A project meant to highlight the distinct features of Lagos while also making its similarities to other cities quite evident. The idea being to tap into universal frameworks that bring cities to life. What is so similar and connected between a person staying in Tokyo and another staying in Lagos? Is there a thread that connects all human societies? This project is one I believe that goes beyond traditional documentary practice to highlight the core of humanity. Our similarities beyond the perceived barrier of nationality, religion, race, sexuality, gender, social class, etc. It places everyone on a similar pedestal where you feel genuinely human and connected not just to the world but also to yourself, realizing the beauty in everyday routines, in everyday feelings and struggles and tap into those essential elements that define humanity, elements that are eternal.
“This could be anywhere but it's Lagos”
The search for a universal meaning through photography pushed me to start a project which I titled, “This Could Be Anywhere but It’s Lagos.” A project meant to highlight the distinct features of Lagos while also making its similarities to other cities quite evident. The idea being to tap into universal frameworks that bring cities to life. What is so similar and connected between a person staying in Tokyo and another staying in Lagos? Is there a thread that connects all human societies? This project is one I believe that goes beyond traditional documentary practice to highlight the core of humanity. Our similarities beyond the perceived barrier of nationality, religion, race, sexuality, gender, social class, etc. It places everyone on a similar pedestal where you feel genuinely human and connected not just to the world but also to yourself, realizing the beauty in everyday routines, in everyday feelings and struggles and tap into those essential elements that define humanity, elements that are eternal.
Fatoma Coulibaly
Mali
Fatoma Coulibaly
Mali
Fatoma Coulibaly, also known as Bakoo, resides and works in Bamako, Mali. After completing his basic education in his hometown, he moved to Bamako for further studies at the high school. However, fate led him towards photography through his older sister, who recommended him as an assistant to a photographer named "Photo Zou," who was self-taught in 2009.
Alongside his work in food photography, he pursued additional training in commercial transit. With diplomas in hand, he dedicated himself to self-training in photography, Photoshop, Lightroom, composition, video editing, and studio photography.
Since 2016, he has been a part of "Yamarou Photo," a hub for fine art photography, where he has participated in various masterclasses and workshops. In 2018, he took part in a photography workshop with French photographer Philipp Guionie, leading to a collective exhibition at the French Institute in Bamako.
In 2019, he participated in a photo workshop with French photographer Francoise Huiguer, resulting in a photo exhibition in France titled "Ton pied mon pieds." His series "Crépuscule" was selected for the INTER-BIENNAL PHOT-ART in 2019. In 2021, he won the "DANAYA" award in the same competition for his series "Soldat de la survie."
He recently participated in a workshop with French-Burkinabé photographer Nyaba Ouedraogo on developing personal artistic vision in the field of photography. In 2021, he joined the KENE laboratory as an assistant photography trainer under the guidance of Italian photographer Mohamed Keita.
He continues his photographic creations in his studio, where he actively manages his work.
"Between the Two"
In ‘Between the Two,' the artist recalls a childhood experience of seeing a photograph taken when he was just 5 years old. The image captured him in an unflattering moment, covered in food with mucus running from his nose. The photograph was in color, and he felt uncomfortable, exposed, and far from looking his best. He longed to appear as handsome as those captured in studio photos, moments frozen in all their glory—the magic of photography. Even at a young age, the artist was aware of social norms, sensing the pressure to conform to behaviors that conflicted with his principles. It wasn't because he felt different from those around him, but rather, his reality was distinct from theirs. This led him to question his identity in a world that often distorted the truth, creating a sense of social schizophrenia. Life, he learned, required authenticity. After completing his primary education in his village, he relocated to Bamako to attend high school. It was there that destiny steered him toward photography, thanks to his older sister's recommendation to assist a photographer named 'Photo Zou.' This sparked his curiosity, and he embarked on a quest to understand every aspect of photography—how to capture, develop film, operate a darkroom, and the purpose of it all. His first venture outside of the studio was a total failure, with six rolls of film yielding nothing but blur during a religious wedding. However, this experience ignited his interest in street photography, not only to capture moments but also to refine his photographic skills. His childhood memories of black and white television in 2000 played a role in his preference for black and white photography. This black and white series is an exploration of contrasts, inviting viewers to appreciate the beauty and wonder that the eye can perceive in the absence of color."
"Between the Two"
In ‘Between the Two,' the artist recalls a childhood experience of seeing a photograph taken when he was just 5 years old. The image captured him in an unflattering moment, covered in food with mucus running from his nose. The photograph was in color, and he felt uncomfortable, exposed, and far from looking his best. He longed to appear as handsome as those captured in studio photos, moments frozen in all their glory—the magic of photography. Even at a young age, the artist was aware of social norms, sensing the pressure to conform to behaviors that conflicted with his principles. It wasn't because he felt different from those around him, but rather, his reality was distinct from theirs. This led him to question his identity in a world that often distorted the truth, creating a sense of social schizophrenia. Life, he learned, required authenticity. After completing his primary education in his village, he relocated to Bamako to attend high school. It was there that destiny steered him toward photography, thanks to his older sister's recommendation to assist a photographer named 'Photo Zou.' This sparked his curiosity, and he embarked on a quest to understand every aspect of photography—how to capture, develop film, operate a darkroom, and the purpose of it all. His first venture outside of the studio was a total failure, with six rolls of film yielding nothing but blur during a religious wedding. However, this experience ignited his interest in street photography, not only to capture moments but also to refine his photographic skills. His childhood memories of black and white television in 2000 played a role in his preference for black and white photography. This black and white series is an exploration of contrasts, inviting viewers to appreciate the beauty and wonder that the eye can perceive in the absence of color."
Finbarr O'Reilly
Ireland
Finbarr O'Reilly
Ireland
Finbarr O'Reilly has spent the last 20 years as an award-winning visual journalist and author working in conflict zones and complex humanitarian emergencies. He is a regular contributor to The New York Times and was the Laureate of the 2020 Carmignac Photojournalism award, which resulted in a two-year project, two books, and multiple exhibitions about the Democratic Republic of Congo. Finbarr has also produced exhibitions for the Nobel Peace Prize and the International Criminal Court. His focus in recent years has been on leading collaborative multi-platform projects that develop and promote a more representative range of voices and perspectives in the photojournalism industry while translating strategic and editorial objectives into engaging and compelling narratives that influence global audiences.
Finbarr has a track record of delivering industry-leading coverage as well as building and managing diverse, effective, and innovative teams able to thrive in an ever-evolving media landscape. He is committed to educational, mentoring, and personal development initiatives aimed at a meaningful diversification of the media landscape and the promotion of social justice. Finbarr has held fellowships at Yale, Harvard, and Columbia universities and has won numerous awards, including from World Press Photo and Pictures of the Year International. He is the co-author of the 2017 memoir Shooting Ghosts: A U.S. Marine, a Combat Photographer, and Their Journey Back from War (Penguin-Random House).
“Ukraine”
Finbarr O'Reilly has been covering the war in Ukraine on regular assignments for The New York Times since Russia's full-scale invasion last year. During that time, he has documented fighting along the frontlines in the eastern Donetsk and Kharkiv regions and the southern Kherson and Zaporizhzhia regions.
“Ukraine”
Finbarr O'Reilly has been covering the war in Ukraine on regular assignments for The New York Times since Russia's full-scale invasion last year. During that time, he has documented fighting along the frontlines in the eastern Donetsk and Kharkiv regions and the southern Kherson and Zaporizhzhia regions.
Fitte-Duval Élise
Martinique
Fitte-Duval Élise
Martinique
Born in Martinique, the artist Élise Fitte-Duval spent many years living and working in Senegal. In 2011, she earned recognition as the best female African photographer of the year by Casa Africa at Bamako's Photography Biennale for her series titled "Vivre les pieds dans l'eau," which sheds light on the issue of floods in Dakar. Driven by a desire to narrate compelling stories, she developed a keen interest in the world of African contemporary dancers, the daily urban challenges faced by communities, and the various citizen movements in the region.
“Being in Wounded Places”
In the series, Élise Fitte-Duval endeavors to depict a vision of a paradise lost in images by employing the collage principle. Her aim is to allude to the heterotopic nature of idyllic landscapes transitioning into dystopian forms, symbolizing, on one hand, the dispossession of the land, and on the other, the chemical burden pressing upon living beings. These photographs capture landscapes seeking to convey the wounded state of nature and its connection to humanity.
“Being in Wounded Places”
In the series, Élise Fitte-Duval endeavors to depict a vision of a paradise lost in images by employing the collage principle. Her aim is to allude to the heterotopic nature of idyllic landscapes transitioning into dystopian forms, symbolizing, on one hand, the dispossession of the land, and on the other, the chemical burden pressing upon living beings. These photographs capture landscapes seeking to convey the wounded state of nature and its connection to humanity.
François Maurel
Madagascar
François Maurel
Madagascar
François Maurel, born in Niamey, Niger, in 1977, is a versatile individual with a background as a photographer, reporter, author, artist, director, and organizer of extreme expeditions. His life has been characterized by a nomadic spirit, continually exploring the globe. He is drawn to challenging landscapes, areas marked by injustice, and a profound humanistic drive, seeking out isolated communities and regions with complex issues of human rights. Having spent his formative years in 17 African countries, François Maurel maintains his independence, working independently and not bound by press directives. Over the years, he has traversed approximately 90 countries, including challenging destinations such as Sudan, Somalia, the Algerian desert, India, Turkey, and, more recently, the FARC zone in northern Colombia since 2018.
"The last nomad of the sea”
This nickname has been bestowed upon us by the "VEZO," who are considered the lords of the sea in the southwest region of Madagascar. It reflects the perspective of us, the global population, as consumers and modern individuals. The "Vezo" are an ethnic nomadic group unique to Madagascar, and they represent the last remaining nomadic seafaring community in the world. These people are predominantly concentrated in the southwest of Madagascar. The collection is based on a series of photographic works that capture their way of life and the unique challenges they face.
"The last nomad of the sea”
This nickname has been bestowed upon us by the "VEZO," who are considered the lords of the sea in the southwest region of Madagascar. It reflects the perspective of us, the global population, as consumers and modern individuals. The "Vezo" are an ethnic nomadic group unique to Madagascar, and they represent the last remaining nomadic seafaring community in the world. These people are predominantly concentrated in the southwest of Madagascar. The collection is based on a series of photographic works that capture their way of life and the unique challenges they face.
Gaha Guy Claude Yann
Côte d'Ivoire
Gaha Guy Claude Yann
Côte d'Ivoire
FRO AND CO or Fro for short, whose name is Yann GAHA , is an art director and visual artist based in Abidjan, Côte d'Ivoire. He began iPhonography in 2019, but it was in 2020 that he really began to refine his technique. His colorful, imaginative world, unique to each project he takes on, is a veritable hymn to the freedom of visual expression and the promotion of creativity. He is part of the new wave of Afro creatives, drawing inspiration from the elements of nature, creating a perfect, structured alchemy based on contrasts such as the sky and the sea, virility and flowers, light and darkness...
Born in a working-class district of Abidjan and a graduate of the ISTC Polytechnique school of journalism, his urban influences and knowledge of Abidjan's hype world enabled him to take up the post of senior editor at the age of 20, then artistic director for a local media where he collaborated with a number of personalities from the artistic scene, including Angélique Kidjo, Olivia Yacé, Sery Dorcas, Loza Maléombho, Elie Kuame and many others. Now he's decided to put his skills to good use and take you on a journey of discovery and questioning through the lens of his mobile phone. Welcome to the new Fro era.
"In Fro's Eye"
"In Fro's Eye" is a collection that celebrates the artistic cultural fusion of Africa. Its aim is to showcase the beauty of people and the surrounding nature while also highlighting the skill of the young Ivorian photographer that I am, using my sole working tool: my iPhone.
"In Fro's Eye"
"In Fro's Eye" is a collection that celebrates the artistic cultural fusion of Africa. Its aim is to showcase the beauty of people and the surrounding nature while also highlighting the skill of the young Ivorian photographer that I am, using my sole working tool: my iPhone.
Gavin Goodman
South Africa
Gavin Goodman
South Africa
An award-winning commercial & fine art photographer who recently won the prestigious 2021 Hasselblad Masters in the art category, Gavin spent the last 18 years honing his craft & original point of view as an image maker. He was born and raised in Cape Town, South Africa, and spent his early career working as a cinematographer in the local film industry, shooting mostly TV commercials. After 7 years of working as a cinematographer, he felt the call to switch to still photography, and was able to transfer his eye for storytelling and technical knowledge of light and camera over to this new medium. Having worked on many prestigious advertising campaigns with respected ad agencies around the world, his passion lies in his personal work. He recently started an agency called Semblance, where his team collaborates with interior designers to create photographic fine art for various developments around the world.
“Luhlaza”
As born and raised South African, I’ve always been intrigued by the traditional African headwear that tells stories of heritage, identity, and culture. With a desire to explore this narrative through a contemporary lens, I embarked on a journey to create a series of images that delicately merge the old with the new. The path led me to the delicate craft of origami, transforming simple paper into magnificent African-inspired sculptures. I named this series “LUHLAZA”, which translates to “green”; in Xhosa, one of the primary languages spoken in Cape Town. The choice of a minimalistic green palette was intentional and layered in meaning. Green has always captivated me for the way it accentuates darker skin tones, giving a radiant and ethereal glow. Beyond its aesthetic appeal, green symbolizes tranquility, nature, and life—aligning perfectly with the essence of the African tribes that inspired this project. The incorporation of origami was a calculated decision. This age-old art of paper folding, often associated with Japanese culture, became the medium through which African inspirations took tangible form. Collaborating with a local origami artist I found on Instagram, the designs were translated into sculptures. with each intricate piece originated from a single sheet of paper, demonstrating the transformative power of art. Lighting played a pivotal role in bringing out the nuances and details of the headpieces, as well as the emotive depth of the subjects. I opted for soft yet directional lighting. By crafting a key light overhead and using a sophisticated technique of shaping and bouncing flashes, I was able to maintain a gentle luminance that danced gracefully on the subject. This technique also allowed for dynamic movement, ensuring the subject had the freedom to express without the constraints of rigid lighting. This series is a testament to the harmony of tradition and modernity, and the boundless possibilities when art forms collide.
“Luhlaza”
As born and raised South African, I’ve always been intrigued by the traditional African headwear that tells stories of heritage, identity, and culture. With a desire to explore this narrative through a contemporary lens, I embarked on a journey to create a series of images that delicately merge the old with the new. The path led me to the delicate craft of origami, transforming simple paper into magnificent African-inspired sculptures. I named this series “LUHLAZA”, which translates to “green”; in Xhosa, one of the primary languages spoken in Cape Town. The choice of a minimalistic green palette was intentional and layered in meaning. Green has always captivated me for the way it accentuates darker skin tones, giving a radiant and ethereal glow. Beyond its aesthetic appeal, green symbolizes tranquility, nature, and life—aligning perfectly with the essence of the African tribes that inspired this project. The incorporation of origami was a calculated decision. This age-old art of paper folding, often associated with Japanese culture, became the medium through which African inspirations took tangible form. Collaborating with a local origami artist I found on Instagram, the designs were translated into sculptures. with each intricate piece originated from a single sheet of paper, demonstrating the transformative power of art. Lighting played a pivotal role in bringing out the nuances and details of the headpieces, as well as the emotive depth of the subjects. I opted for soft yet directional lighting. By crafting a key light overhead and using a sophisticated technique of shaping and bouncing flashes, I was able to maintain a gentle luminance that danced gracefully on the subject. This technique also allowed for dynamic movement, ensuring the subject had the freedom to express without the constraints of rigid lighting. This series is a testament to the harmony of tradition and modernity, and the boundless possibilities when art forms collide.
Hashim Nasor Hashim Hamza
Sudan
Hashim Nasor Hashim is a self-taught Sudanese artist born in Khartoum in 1990. Originally a dentistry student at Alrazi University in Khartoum, he discovered his passion for conceptual art during the Covid-19 pandemic in 2020. He transitioned from street art photography to creating conceptual artworks, often using his own hands and self-portraits to express emotions and ideas. Art became his escape from the stress of his dental profession, providing a means to nourish his soul and explore his imagination.
In his artistic journey, Hashim has achieved several notable milestones, including participation in the "Voices" art project, focusing on the emotional and social impact of the army command sit-in dispersal in Khartoum (2021). His work has been featured in the online exhibition "Myths and Fables" by Analog Forever Magazine (2021) and the twelfth issue of Australian magazine UND (2021). Hashim was awarded 2nd place in the "Imagine" category at the East African Photography Award (EAPA) in 2022.
He has exhibited his art at prominent venues, including the third edition of SARD III during Cairo Photo Week in February 2023. Hashim has also contributed to a group exhibition at Downtown Gallery Khartoum, addressing the status of women in Sudan in collaboration with the Institute for Democracy and Electoral Assistance (IDEA).
Currently, Hashim is actively involved in projects centered on issues of gender equality and diversity within Sudanese and global communities.
“A Leap into A Dream”
I started developing this series in June 2022 to embody a dream I dreamed of about two fairy characters living on the bank of the Nile River, far from the hustle and bustle of life, and from this embodiment everything has begun. Bending many thin lines between conceptual minimalism and dreamlike surreal imagery with a mixture of avant-garde and editorial concepts, I work on creating an Aesthetic artwork through a profusion of forms, multiplication of sights, the juxtaposition of planes colors, combined with the brilliance of flowers color and all their richness, as earth and nature elements to symbolize my roots Colors I use has spiritual significance, Blue, the color of his dream, where I found myself unintentionally putting a glimpse of it into my photographs. The objects themselves hold symbolic weight, The blue cone conveys the intensity of our stressful life and how it can flourish into something beautiful through the healing power of artistic creation.
“A Leap into A Dream”
I started developing this series in June 2022 to embody a dream I dreamed of about two fairy characters living on the bank of the Nile River, far from the hustle and bustle of life, and from this embodiment everything has begun. Bending many thin lines between conceptual minimalism and dreamlike surreal imagery with a mixture of avant-garde and editorial concepts, I work on creating an Aesthetic artwork through a profusion of forms, multiplication of sights, the juxtaposition of planes colors, combined with the brilliance of flowers color and all their richness, as earth and nature elements to symbolize my roots Colors I use has spiritual significance, Blue, the color of his dream, where I found myself unintentionally putting a glimpse of it into my photographs. The objects themselves hold symbolic weight, The blue cone conveys the intensity of our stressful life and how it can flourish into something beautiful through the healing power of artistic creation.
Jairo Nicolas Bernal Usama
Colombia
Jairo Nicolas Bernal Usama
Colombia
Jairo Nicolas Bernal (2000) is a photographer, visual storyteller and political scientist belonging to the Indigenous People of Los Pastos de Ipiales, Nariño, Colombia. His work addresses the defense of indigenous peoples' territory, internal migration in Colombia, human rights and social justice. His work methodology is closely linked to visual anthropology. He is currently part of the organization Indigenous Photograph.
In 2022 he was selected in the second edition of the visual narratives program Semillero Migrante, finalist in the XIII edition of the Italian IILA-PHOTOGRAPHY Award "V.A.S" and winner of the portfolio review in the PhMuseum 2022 Photography Grant competition. In 2021 he received an honorable mention in the South American PhotoMigration Contest La Migración con otros Lentes of the IOM Regional Office for South America and deserved second place in the photography category (18-24) in the 6th International Youth Creativity Award of the Kingdom of Bahrain. His work has been exhibited collectively in Italy, the United States, El Salvador, Argentina, Mexico, Chile and Guatemala.
“Ambachacke Embera”
The Borocuara Ocampo, an Embera Chamí indigenous family, arrived in Bogota in 2009, displaced from their territory in the municipality of Pueblo Rico, department of Risaralda, in Colombia. During their stay in the capital, until November 2021, through weaving, dancing, music, and traditional singing, they resisted the homogenization typical of the city and its dynamics. They never gave up the Embera language, which represents survival and identity: their language —constructed and reproduced orally—expresses the thoughts, history, and traditions of the Borocuara Ocampo.
“Ambachacke Embera”
The Borocuara Ocampo, an Embera Chamí indigenous family, arrived in Bogota in 2009, displaced from their territory in the municipality of Pueblo Rico, department of Risaralda, in Colombia. During their stay in the capital, until November 2021, through weaving, dancing, music, and traditional singing, they resisted the homogenization typical of the city and its dynamics. They never gave up the Embera language, which represents survival and identity: their language —constructed and reproduced orally—expresses the thoughts, history, and traditions of the Borocuara Ocampo.
Jean-Claude Moschetti
France
Jean-Claude Moschetti
France
After studying at INSAS (Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion) in Brussels, Jean-Claude Moschetti worked in the film industry. However, he never abandoned his interest in photography, and starting in 1995, he worked as an independent press photographer. Jean-Claude Moschetti has extensively traveled in Africa and now engages in long-term personal projects like "Magic on Earth," focusing on traditional secret societies in West Africa.
The African continent is steeped in a rich and complex history of mysticism, with magic often accepted as an integral part of daily life. Working primarily with African Voodoo and magical societies in West Africa, photographer Jean-Claude Moschetti highlights African spirituality and tradition. He creates complex photographic compositions depicting ancestors and protective spirits returning to Earth. As an initiated member of the Egungun cult in Benin himself, Moschetti offers a unique perspective on this world of shadows.
Jean-Claude Moschetti also explores West African myths and folklore through staged scenes, making Voodoo deities and mythical creatures visible. For these works, costumes and accessories are created to his specifications in collaboration with traditional artists and elders.
“The Second World”
This series explores West African myths and popular beliefs through staged scenes that make Voodoo deities and mythical creatures visible, which remain invisible to the uninitiated. For these works, costumes and accessories are created at his request in collaboration with traditional artists and elders.
“The Second World”
This series explores West African myths and popular beliefs through staged scenes that make Voodoo deities and mythical creatures visible, which remain invisible to the uninitiated. For these works, costumes and accessories are created at his request in collaboration with traditional artists and elders.
Our Partners
