Tate Modern’s latest exhibition starts off with a regal figure, the dein of Agbor from Delta State, Nigeria. Dressed in vibrant red robes and seated on a red velvet throne, he exudes authority and power. In his hand, he holds a pressed white handkerchief, perhaps to combat the heat or to signify his role in settling disputes. The following portraits showcase other Nigerian monarchs, each with their own unique attributes. The exhibition, titled “A World in Common: Contemporary African Photography,” presents Africa through the lens of its own artists. It is a mesmerizing, dynamic, and thought-provoking experience that offers a deep understanding of the continent.
The exhibition features an array of captivating photographs that shed light on different aspects of African life. From girl biker gangs in Marrakech to gay picnics in South Africa, the images capture the diversity and vitality of the continent. Lazhar Mansouri’s black-and-white photographs, taken in north Algeria in the 1950s and 1960s, provide a fascinating glimpse into the lives of Bedouin and Berber communities, with some subjects posing with radios and others emulating the style of Marlon Brando.
With over a billion people in Africa, selecting the artworks for the exhibition required careful curation. While some of the featured artists are well-known, such as Samson Kambalu and James Barnor, others are lesser-known but equally deserving of recognition.
The exhibition also explores the role of the camera as an imperial device. In one gallery, Angolan artist Edson Chagas presents passport-like photographs of individuals wearing Bantu masks historically coveted by Western collectors. Each subject is given a fictional name, blurring the lines between European and African identities. Zina Saro-Wiwa’s film, showcased alongside Chagas’s work, features the artist herself wearing various masks, highlighting the complexities of being a contemporary African woman.
Other thematic groupings in the exhibition include representations of spirituality and haunting images. Maïmouna Guerresi’s polyptych showcases an old man reading Sufi scriptures to four girls, surrounded by symbols representing deeper meanings of existence. Cameroonian artist Em’kal Eyongakpa’s dark landscapes convey a sense of eerie mystery, with hints of war and ancient artifacts hidden within the frames. Sammy Baloji’s archival images juxtaposed with contemporary photographs tell the story of Congolese laborers and the demise of the mining industry, while Délio Jasse’s double exposures superimpose historical documents onto colonial-era Portuguese photographs, shedding light on the inequality and erasure of African identities.
The exhibition also features installations and multimedia sculptures, showcasing the versatility and power of photography as an art form. One installation by Ndidi Dike, titled “A History of a City in a Box,” utilizes dusty old box files to create a cityscape, including a representation of Independence House and hidden colonial photographs. The exhibition prompts viewers to question the role of photography in shaping perceptions of Africa and challenges prevailing stereotypes.
Curated with great insight and sensitivity by Osei Bonsu, Tate Modern’s curator of international art, this exhibition offers a remarkable exploration of Africa’s diverse cultures and identities. It brings together disparate visions of the continent, revealing intricate details that might otherwise go unnoticed. It is an invitation to examine African art and culture more closely, to challenge preconceived notions, and to appreciate the rich tapestry of experiences that make up this vast and vibrant continent.
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