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.
Shaman-like healers who practice traditional medicine and worship the ancestors are influential figures in the community – but what fascinated Italian photographer Tommaso Fiscaletti wasn’t their power, but the contrast between that and their everyday lives. Fiscaletti has been based in Cape Town for the past two and a half years, and first set foot in the small township of Dunoon, in the west of the city, when he was introduced to the urban weavers who live there. The women invited him to come to learn about their designs, but Fiscaletti was struck by the duality of the spiritual and the domestic that shape their lives. He had soon embarked upon a six-month project photographing them, taking shots he’s titled Between Home and Wisdom. “On the one hand, they are leading figures for the community and the family and on the other, they’re devoted to the cult of the ancestors and spend a lot of time alone,” Fiscaletti says. “What attracted me the most was the energy of these women in everyday life, in the …