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Osei Bonsu, Donatien Grau, ...: Photographie et politique
Photographie et politique
(p. 49 – 84)

Osei Bonsu, Donatien Grau, Renzo Martens, Bruno Serralongue, Abdellah Taïa

Photographie et politique
Images par le monde

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  • art theory
  • conversation
  • photography
  • contemporary art

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Osei Bonsu

is a British-Ghanaian curator, critic, and art historian based in London and Paris. His activities encompass exhibition programming, publishing, and cultural strategy in the field of visual arts. He has developed projects focused on transnational histories of art, collaborating with museums, galleries and private collections internationally. In 2017 he ­curated the 10th edition of Satellites, an exhibition co-commissioned by Jeu de Paume and CAPC: Centre for Contemporary Art, Bordeaux. He has also worked on the development of a number of projects focusing on African art, including Pangaea II: New Art from Africa and Latin America (­Saatchi Gallery, 2015) and 1:54 Contemporary African Art Fair (2013–14). He holds a Masters in History of Art from University College London, where he earned a distinction for his dissertation on surrealism and African sculpture. Bonsu is a contributing editor at frieze magazine.
Other texts by Osei Bonsu for DIAPHANES

Donatien Grau

is head of contemporary programs at musée d’Orsay, Paris. He is the author of various books. He realized the exhibition Pierre Guyotat, la matière de nos oeuvre in collaboration with the Azzedine Alaïa Gallery in April–June 2016. A book of conversations between him and Pierre Guyotat appeared in October 2016: Humains par Hasard.
Other texts by Donatien Grau for DIAPHANES

Renzo Martens

gained international recognition with the films Episode I, 2003, and Episode III: Enjoy Poverty, 2008, which was televised in more than 23 countries. In 2012 he established the Institute for Human Activities and its “reverse gentrification” program in DR Congo. Together with the plantation workers of Cercle d'Art des Travailleurs de Plantation Congolaise, he uses artistic critique to redress economic inequality—not symbolically, but in material terms. Consequently, in 2017, they opened a OMA-designed white cube on a former Unilever plantation.
Other texts by Renzo Martens for DIAPHANES

Bruno Serralongue

was born in 1968 in Châtellerault. He lives and works in Paris and Geneva, where he teaches at the Haute Ecole d’art et de design. After studying Arts at the Villa Arson in Nice and at the Ecole ­nationale de la photographie in Arles, and Art History at the university Panthéon-Sorbonne in Paris, since the mid-90s Bruno Serralongue has been developing a committed photographic pratice focused on issues such as the medium's history, its use and its informative potential.
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Abdellah Taïa

was born in Rabat in 1973. He has published several French-language novels with Éditions du Seuil, translated into many languages in Europe and USA, including L’Armée du Salut (2006), Une mélancolie arabe (2008), Le Jour du Roi (Prix de Flore, 2010), Infidèles (2012), Un pays pour mourir (2015), Celui qui est digne d’être aimé (2017) and La vie lente (2019). In 2014, he directed his first film, L’Armée du Salut, based on his novel of the same title. Taïa is the first Arab writer to come out as gay.
Other texts by Abdellah Taïa for DIAPHANES
Donatien Grau (ed.), Christoph Wiesner (ed.): Après la crise

Après la crise établit une plateforme de conversation entre protagonistes de l’art, de l’écriture, de la théorie, de l’exposition, et de l’histoire, afin d’interroger le statut de la photographie aujourd’hui. Les contributeurs viennent des domaines de la théorie critique, de la fiction, de la performance, de la photographie de mode, des musées, du cinéma et du design, et leurs discussions réunissent l’histoire et le contemporain. Ces échanges établissent des parallèles entre la situation actuelle des images photographiques et la crise vécue par la représentation au temps de la naissance de la photographie ; ils mettent en perspective notre relation aux images photographiques à l’ère numérique, et nous permettent de voir en la photographie un médium, une voie pour explorer la politique, l’esthétique, les émotions de nos vies.

 

Au travers de ces conversations vivantes, et des introductions sagaces qui les précèdent, nous en venons à ressentir le fardeau existentiel d’être entouré par des images, tout en commençant à saisir la profondeur historique d’un questionnement des images qui s’ouvrit bien avant la génération actuelle, et qui se confronte aux sujets politiques et culturels cruciaux de notre temps.

 

Avec les contributions de Philippe Artières, Osei Bonsu, Emma Bowkett, Elisabeth Bronfen, Emanuele Coccia, ­Russell ­Ferguson, ­Dominique de Font-­Réaulx, Marc Fumaroli, Leigh Ledare, Kieran Long, Roxana Marcoci, Renzo ­Martens, Paul ­McCarthy, Tom McCarthy, Pascale Montandon-­Jodorowsky, ­ORLAN, Alice Rawsthorn, Jeff Rosenheim, ­Elisa Schaar, ­Bruno Serralongue, Devika Singh, Abdellah Taïa, ­Oliviero ­Toscani, Inez van Lamsweerde & Vinoodh ­Matadin, Wim Wenders, Richard Wentworth.

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