Memories & Beauty Captured in Africa and displayed by Rencontres de Bamako

Rencontres de Bamako (highly diverse group of local and international partners in arts and photography )   is jointly run by Mali’s government and the Institut François .The Bamako Encounters is aimed at promoting the various trends in contemporary photography and video in Africa by creating international exchange among artists, the public, curators, commissioners, the media and collectors.

Enjoy stunning photographs below:


Miss Azania – Exile is Waiting is the work of South African artist Athi-Patra Ruga, who uses myth and alternative identities “as a contemporary response to the post-apartheid era”.


The only Malian to be included in the collection, Fototala King Massassy, puts this down to generations of Malian photographers “tending to fall back on tradition”.
The beautiful, the ugly and all that is in between” are what 27-year-old self-taught photographer Girma Berta says he tries to capture in his work.
Stranger in a Familiar Land is the work of Uganda’s Sarah Waiswa, who says she left a job in the corporate world to follow her passion for “creating visual poetry”.
In West of Life, the “discord between people and nature” is balanced against Zied Ben Romdhane’s wish to honour the “humour of the inhabitants and my affection for them”. The collection depicts life in Tunisia’s poor mining villages, which are “rich in resources but marginalised by the government”.
In Edson Chagas’ Found Not Taken series, discarded items are picked up and moved to a different location, suggesting that what appears to be reality is in fact a construct.
One of a series of photos taken whilst riding a taxi in Dakar, “Le peuple du mur” (The Wall People) captures isolated moments of calm in Senegal’s bustling capital.
When will an African lead The Vatican? Cameroon’s Samuel Fosso confronts the politics of religion with his Black Pope series.


After the 2016 terror attack on the Grand Bassam beach resort in Ivory Coast, Joana Choumali wanted to document the “melancholy” she witnessed in a place which she had always associated with happy memories. “Ça va aller” (It’ll be OK) reflects her view that Ivorians “do not discuss their psychological issues”, making it harder to heal trauma.






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