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Prizewinning images of Africa, from grasshoppers to street life

2018-04-18 10:32:55  source: www.theguardian.com [Reprint]  author:   editor: 斫子 Su Yuezhuo
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The only global prize for contemporary African photography reveals it shortlist for 2018, bringing together artists from Nigeria, Ivory Coast, Angola and Morocco as well as Europe and the US, and covering subjects as diverse as FGM, nomadic life, the plight of domestic workers, and learning to swim

All photographs: 2018 CAP prize

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Shadows of Domestic Work, 2016–2018, by Ralph Eluehike

This series highlights the ways in which domestic workers are mistreated. ‘Estimates suggest there are at least 64.5 million domestic workers worldwide,’ says Eluehike. ‘They are living a life of torture, hopelessness, no formal education and virtual imprisonment’

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Are You Calling Me A Dog?, 2016–2017, by Nura Qureshi

Nearly 60 years after Kenya achieved independence from Britain, the heroes of the liberation fight are disappearing. Qureshi’s project reimagines the history of the Mau-Mau resistance. ‘I used landscape and portrait photography, film and digital cameras, sometimes combined with print and ink, to recreate scenes depicting Mau Mau rituals of initiation and surrender, as well as British infrastructures of oppression’

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Out of this Life, 2015–2017, by Patricia Esteve

Esteve’s work uses images based on true stories to explore the approach to suicide in Kenya. The project brings together testimonies from people who have tried to kill themselves or have lost a loved one to suicide, and have endured stigma as well as social and legal injustice

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Zenkeri, 2013–2017, by Jonas Feige and Yana Wernicke

Zenkeri looks at the life of German botanist and colonialist Georg August Zenker, who in 1889 settled in the then-German colony of ‘Kamerun’. His descendants today struggle to reconcile their German and Cameroonian identities. ‘We were moved by a family’s struggle with their own identity that stems from a shared past, which has for the most part been forgotten in Germany’

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Lost Love, 2014–2017, by Eve Tagny

This set of images is an excerpt from a photobook telling the story of young love interrupted by a sudden suicide. ‘Lost Love presents a journey through grief,’ says Tagny. ‘[It is not constructed solely as a eulogy for the dead, but rather as a testament for the living – a gesture towards breaking away from the legacy of trauma’

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Red Fever, 2017, by Adji Dieye

Dieye’s images explore the spread of socialism through Africa and the traces it left on the continent, through images, photos and photomontages. Dieye describes the way in which ‘Soviet blocs in the jungle, constructivist towers and monuments in the middle of the savanna seem to describe a peculiar retro Afro-future imagined 50 years ago’

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With Butterflies, and Warriors, 2014-ongoing, by David Chancellor

Here, Chancellor tells the story of local communities in the northern rangelands of Kenya, who are on the frontline of conserving and protecting wildlife against the threat posed by poachers

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Cidade em movimento, 2016, by Delio Jasse

The oil boom transformed Angola into one of the world’s fastest growing economies. But since prices fell in 2014, the impact on the country has been devastating. The works in Cidade em Movimento were shot in the capital, Luanda, in 2016, and convey a sense of stillness and disillusion

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Familiar Strangers, 2016, by Bas Losekoot

In the face of the biggest wave of urbanisation in history, Losekoot examines how the increase in population density influences the behaviour of everyday commuters in the streets of the world’s most crowded megacities, such as Lagos, creating worlds that are both strange and familiar. ‘I hope to leave the viewer in uncertainty about what he is really looking at – is it fact or fiction, a documentary or a staged photograph?’

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The Things We Carry, 2017, by Esther Mbabazi

In northern Uganda, Mbabazi documents the lives of South Sudanese refugees living in Bidi-Bidi refugee camp, portraying them with the items they carried with them when violence drove them from their homes. ‘This series is meant to ask the audience to look and view the people photographed for who they are,’ she says.

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Six Degrees South, 2016–2017, by Gilles Nicolet

For centuries, communities have made a living from the plentiful fishing along the Swahili coast in east Africa. Yet overfishing and the changing climate mean such customs are under threat. ‘It could be that we are now witnessing the last of fishing and sailing traditions that had remained largely unchanged for a thousand years,’ says Nicolet, who documents the lives of the traders

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Left Behind, 2017, by Nneka Iwunna Ezemezue

This project looks at the plight of widows in Nigeria: losing their husbands robs them of their status, and means they suffer social discrimination, stigma and even violence. Some communities force women to perform ancient and strange rituals such as drinking the bathwater of the corpse or shaving their hair completely. ‘Most of the women I photographed are Igbos, from the south-eastern part of Nigeria, where the practice of extreme forms of inhuman burial rituals is commonplace’

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Hemelliggaam (Heavenly Body) or The Attempt to be Here Now, 2016–2018, by Tomaso Fiscaletti and Nic Gobler

This series, inspired by South African science fiction writing, is ‘a visual exploration of the existential aspects of the human-environment-astronomy relationship’. Fiscaletti and Gobler train their lenses on communities, landscapes and objects located in the South Africa’s Western and Northern Cape

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21st Century Bedouin, 2018, by Venetia Menzies

This documentary project on nomadic life in Algeria looks at the history of one particular family, as recounted by its youngest member, Ismail, beginning in 1890 with stories of his grandmother. As the narrative unfolds, Ismail’s tale shines a light on how generations of Algerians have been affected by issues such as French colonisation, civil war and mass urban migration

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Butterflies are a Sign of a Good Thing, 2017, Ulla Deventer

This research project studies women living in Ghana’s capital, Accra, and how they make a living in a place with few economic opportunities, often through sex work. ‘Old tragedies and nightmares fuel an inner strength to survive,’ says Deventer, ‘in a society plagued by economic hardships, religious restrictions, and strong misogynistic views’

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Finding Freedom in the Water, 2016, by Anna Boyiazis

Girls living in the Zanzibar archipelago often never learn to swim, in part because the conservative Islamic culture there discourages them from going in the water. Boyiazis’s work follows the Panje Project, which has been working with local women and girls, providing them with full-length swimsuits and challenging taboos to help them learn this vital life skill
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Marikana – The Aftermath, 2013-ongoing, by Paul Botes

Botes’ series looks at the huge impact on families and communities of South Africa’s Marikana massacre, in August 2012, when police opened fire on workers striking at a platinum mine, killing 34 people

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Destination Europe, 2015–2016, by Jason Florio

Florio’s photographs document the work of Moas, a rescue ship saving the lives of people attempting to make the perilous sea crossing from Libya to Europe. ‘I did not see the people I met at sea as “other” or defined by their temporary status as “migrants”, but as fellow travellers on paths that were intersecting mine’

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Nsenene Republic, 2014–2018, by Michele Sibiloni

In Uganda, Nsenene – grasshoppers – are both a delicacy and a source of income. ‘They migrate en masse twice a year, right after the rainy seasons, flooding the sky in huge flocks before daybreak,’ says Sibiloni. ‘Grasshoppers’ hunting lies on a very precarious edge between past and future, tradition and innovation, and can shed some light about Ugandans’ identity as well as about new prospects for the whole planet’

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Monankim, 2017, by Jenevieve Aken

Monankim is the word for a controversial rite of passage for girls of the Bakor people in Cross River state, Nigeria. The process involves female genital mutilation, and these images explore the artist’s conflicting values, as she herself is from one of the minority groups of the Bakor

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So Far Away Yet So Close, 2009–2017, by Baptiste de Ville d’Avray

This series brings together images taken in Morocco during a boom in urban development. ‘It features the concrete sprawl over the coastline, through architecture and landscapes whose residents appear lost’

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L’essentiel est invisible pour les yeux, 2014, by Akpo Ishola

Here, Ishola tells the story of her grandmother through the objects from her marriage dowry: the wooden canteen produced by her future husband, cloths, beads, gin bottles, bowls and mirrors. ‘Each frame carries a set of memories experienced by the couple, but also imagined … by the viewer, who projects his own stories about the objects’

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Plastic Crowns, 2016, by Phumzile Khanyile

Khanyile’s series is a journey of self-discovery, breaking out of the societal conventions of her Soweto childhood. ‘I explore beyond the tragic boundaries of what my grandmother would consider a “good woman”,’ says Khanyile, ‘probing stereotypical ideas of gender, sexual preference and related stigmas and their relevance in contemporary society’

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Godmothers of War/ Madrinhas de Guerra, 2015–2017, by Amilton Neves Cuna

This series looks at the Mozambicans who took part in the National Women’s Movement from 1961 to 1974. These women were sponsored by the Portuguese government to provide moral support, through letter-writing campaigns, to the soldiers fighting on the frontline during the Mozambican war of independence

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Casablanca Not the Movie, 2014–2018, by Yassine Alaoui Ismaili

In this series, Alaoui Ismaili reflects on the irony of the classic movie, filmed not in the city itself but in a Hollywood studio. ‘I want to convey the real street life and situations of Casablanca and highlight the moments where these cultures meet, which we wouldn’t notice if not in a photograph from the perspective of a Moroccan, who was born, grew up and still lives there,’ he says

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