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Sammy Baloji (DRC) and Mudi Yahaya (Nigeria) are those artists who sometimes tire of the flatness of the documents of recent history and decide template monster to reinterpret it, in this case the African postcolonial history, with a trick of "cut and paste ".
Present and past faced in two dimensions, it is the magic of photographic collage: one can force the Queen of England to sit with a traditional chief to discuss the future of independent Nigeria in the 1960s, for example. Or superimpose images of Katanga mining industries template monster a good dose of harsh reality, with the harsh and crude portrait of human beings exploited them. These are just some of the things we are capable of doing these conjurers photography that we recommend today. Sammy Baloji template monster
He was born in the seventies template monster in Lubumbashi, Katanga Province; therefore it is no coincidence that one of his great series concerned template monster about the image of mines still colonize like a ghost his native region. The Gécamines or "Générale des Carrières et des Mines" remains one of the symbols of wealth and industry that link the present to the Democratic Republic of Congo with his Belgian colonial template monster chapter.
In an area between documentary photography and fiction, pictures are populated by characters that Belgian template monster Congo, many human beings who were employed and used for the construction of these large industrial works. The result is far less impressive, but the idea, as the photographer himself, is to face those hard "traumas of the past" and contrast with current realities.
Yahaya series "Conrad's template monster Circus: For Crown and Country" (The Circus Conrad: template monster For Crown and Country) is packed with visual cues about the power and symbolism of the nation. Located in the middle of the process of independence of Nigeria, the characters that are physically located in historic settings, thanks to the subterfuge of collage, belong to both British colonial template monster elites as future template monster Nigerian elites after the colonization period. template monster
The significance of the moment injects a great tension, even though the events are real only half: what is at stake is the future of the country, a country that, although it seems worth remembering, is testimony to the tragedy of the contrast between the wealth of its oil resources and social inequality. Mudi Yahaya makes an indirect criticism of the role of the former colonists but also of Nigerians template monster who will be the head of state, template monster with the enormous responsibility that entails.
Many of the photographs are set in cemeteries. The reason, according to the author, is that they are "places of memory and history", but it seems that there is more Jan those graves as plain background in a context template monster in principle as "optimistic", as expressed by the traditional template monster chief photography when asked by the Queen of England for the future of Nigeria (dialogue can be heard in the video installation). Perhaps it is a sign or a bad omen of political violence would come soon after, or simply a reflection on the wrong steps taken during those years. template monster
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