“We do not need to specifically just focus on changing stereotypes of what being African is through our visual storytelling; I think that’s an additional burden that other artists from other continents are not expected to subscribe to. I do think that through our visual storytelling, whatever theme we choose, and the quality of our work, we already do so much to challenge external perceptions of the African continent,” says Ngadi Smart, one of the image-makers whose work will feature in the exhibition Foreseen: New Narratives from the African Photojournalism Database.
It’s just one of the shows in the forthcoming Nuku Photo Festival Ghana, the first event of its kind in the country. Featuring exhibitions, a conference, a portfolio review, and networking events, Nuku Photo Festival Ghana aims to “create a space for artistic explorations and exchanges”, according to the festival founder Nii Obodai. “For this first edition, we have curated a diverse programme in cooperation with local and international partners that showcases the works of 50 both established and up-and-coming photographers and visual artists.”
Yassine Alaoui Ismaili (Morocco), Paul Botes (South Africa), Anna Boyiazis (USA), Tommaso Fiscaletti & Nic Grobler (South Africa), and Phumzile Khanyile (South Africa) are the five winners of the seventh CAP Prize. Open to photographers of any age or background, the CAP Prize is awarded to work that engages with the African continent or its diaspora.
Born in 1984 in Khouribga, Morocco, Yassine Alaoui Ismaili – aka Yoriyas – lives in Casablanca and has been awarded his prize for the series Casablanca Not the Movie (2014–2018). “It is both a love letter to the city I call home and an effort to nuance the visual record for those whose exposure to Morocco’s famous city is limited to guide book snapshots, film depictions or Orientalist fantasies,” he says.
Founded in 2012 by Swiss artist Benjamin Füglister, the Contemporary African Photography Prize aims “to raise the profile of African photography and encourage a rethinking of the image of Africa”. Open to photographers from anywhere in the world whose work engages with the African continent or its diaspora, it picks out five winners every year and shows their work at major photography festivals around the world. This year 800 photographers entered, of whom 25 have made it to the shortlist.
The Washington Post picture editor picks out his top five of 2017 – including Peter DiCampo and Austin Merrill’s Everyday Africa photobook
BJP’s 2014 International Photography Award is up and running and receiving entries – so we we’ve taken some time out to ask Peter DiCampo, winner of the 2010 series category prize, about how it was for him. DiCampo won with a project called Life Without Lights, which shows life in rural Ghana at night and is the first chapter in an ongoing project on fuel poverty; his images were exhibited at the Association of Photographers’ then-gallery in East London (the IPA now works with the central London TJ Boulting Gallery), and were printed by Spectrum Photographic (who are still our sponsors). We didn’t even bribe him to give these answers! BJP: Why did you enter the competition? Peter DiCampo: I entered the competition for the hope of recognition, of course, and was especially excited to enter this one as it is not only an award but also the chance for a solo exhibition. I had recently completed a large body of work, and was so thankful for the chance to exhibit it (my first solo exhibition at the time). BJP: …