Congolese photographer Kiripi Katembo’s images have an otherworldly quality to them. At first glance, they appear to be sci-fi montages, depicting rocky landscapes and falling giants, reminiscent of a lo-fi apocalypse. However, upon closer inspection, these images are actually reflections in puddles, turned upside down. Each photograph captures a fleeting moment of street life in Kinshasa, creating a surreal and mesmerizing effect that immerses the viewer into the sensory experience of being there.
Katembo, who tragically passed away from malaria at the age of 36 in 2015, had limited access to professional photography equipment. However, he demonstrated remarkable ingenuity by using his camera creatively with the resources available to him. This resourcefulness was partly driven by necessity, as most Congolese people were reluctant to have their picture taken. Katembo sought less obtrusive ways to document his community, resulting in these visually stunning and thought-provoking photographs.
The relationship between photography and colonialism in Africa is complex and deeply intertwined. The camera arrived on the continent alongside the gun and the bible as part of the colonial paraphernalia. Early photographic images of Africa reflected the biased perspectives and fantasies of the colonizers. They portrayed the continent as an “untamed” and mysterious land, while reducing its inhabitants to mere “subjects” or even “specimens” in quasi-scientific portraits. This historical context has understandably made many Africans suspicious of cameras pointed at them.
However, with the passage of time and the emergence of a postcolonial era, the gaze has shifted. The Tate Modern’s exhibition, A World in Common, showcases the evolution of African photography and how artists like Katembo have subverted conventions and found new modes of expression. It is not merely a survey of modern Africa, but a testament to the power of photography as a liberating tool for storytelling and the creation of postcolonial identities.
The tradition of studio portraiture is one domain where African photography’s evolution is evident. In the 20th century, white photographers established studios in Africa, catering to the wealthier locals. These portraits depicted Africans dressed in formal western attire, mimicking Victorian aesthetics. While these individuals commissioned their own photography, the images also symbolized a form of “internal colonization.”
By the 1950s, African photographers took ownership of the medium as the spirit of Pan-Africanism swept the continent. Figures like Malick Sidibé, Seydou Keita, and James Barnor captured the optimism of the post-independence era through photojournalism and studio portraiture. Barnor’s portraits from his Ever Young studio in Ghana captured professionals and family milestones, exuding a sense of relaxation and hope for the future.
Contemporary African photographers have built upon this tradition, pushing boundaries and challenging stereotypes. Artists like Atong Atem and Ruth Ginika Ossai infuse their studio portraits with vibrant colors, patterns, and flamboyance. They aim to empower their subjects, allowing their true selves to shine through. The paradigms of portraiture and representations of Arab women have also been reinvented through Hassan Hajjaj’s portraits of the “Kesh Angels,” a group of Marrakesh’s female bikers. These women exude confidence, confronting and challenging the viewer.
The exhibition A World in Common focuses less on straight photojournalism and more on expressing inner realities. Many of these works incorporate past, present, and future, blurring the boundaries and embracing the multifaceted nature of African identity. The concept of Afrofuturism, while overused, fails to encapsulate the depth and complexity of the artworks on display. These images incorporate both colonial legacies and the traditions that were overwritten and suppressed. African spirituality coexists with Christianity and Islam, forming a unified African state of mind.
Aïda Muluneh, one of Africa’s leading photographers, constructs striking tableaux that combine dreamlike landscapes with vivid colors. Her work often focuses on female perspectives and identities. Each image is a meticulously planned production, incorporating sketches, set design, costumes, and makeup. Muluneh’s photographs address important issues such as access to water and women’s work, capturing the resilience and strength of African women amid challenging circumstances.
Muluneh, who grew up abroad before returning to Ethiopia, has been instrumental in building a photography scene in her home country. She teaches, mentors, and organizes workshops, including the Addis Foto Fest, which she established in 2010. She also established a companion event in Abidjan, Ivory Coast. These photography festivals provide platforms for African artists to showcase their work and introduce Western photographers to the richness and diversity of African photography.
In conclusion, African photography has come a long way since its early associations with colonialism. Artists like Kiripi Katembo and Aïda Muluneh have revolutionized the medium, using it as a tool for self-expression, storytelling, and the creation of postcolonial identities. The exhibition A World in Common at the Tate Modern celebrates the diversity and complexity of African photography, inviting viewers to reimagine the possibilities and power of the medium.
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