...a photoBook is an autonomous art form, comparable with a piece of sculpture, a play or a film. The photographs lose their own photographic character as things 'in themselves' and become parts, translated into printing ink, of a dramatic event called a book...
- Dutch photography critic Ralph Prins
Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events and ceremonies in Mali, including football matches, weddings, Christmas Eve celebrations and the surprise parties thrown by groups of youths belonging to “clubs.” The clubs were named after their idols and the styles of western music (Los Cubanos, Les Caïds, Las Vegas, etc.) which had just started being sold in Bamako. Malian independence brought not only a whiff of liberty and insouciance, “communist friendship with brother countries,” but also dreams of western society. Sidibé sometimes photographed five reports in one night before returning to the lab to develop the negatives. He would then display on the studio walls carefully numbered index prints which were glued on administrative folders. These are the “chemises” reproduced in this book. In the following days, the party people came to look at the folders and select the photos that they wanted to buy. The folders reproduced in this book constitute a significant catalogue of Sidibé’s work. Progressively, in the mid-seventies, youths met less frequently at clubs and went more often to night clubs which were not Malick’s haunts. He therefore shifted his activity to studio portraits and camera repairs. Read the review by 5B4...
Malick Sidibé was born around 1936 in Soloba, Mali. In 1952 he moved to Bamako where he still lives and works. His portraits and documentation of social life in Bamako, in particular his coverage of the activities of young people, have been widely acclaimed. In 1995 his works were shown for the first time outside Africa, in Paris, and have since been exhibited in Europe, USA and Australia. Read an interview ...
Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events and ceremonies in Mali, including football matches, weddings, Christmas Eve celebrations and the surprise parties thrown by groups of youths belonging to “clubs.” The clubs were named after their idols and the styles of western music (Los Cubanos, Les Caïds, Las Vegas, etc.) which had just started being sold in Bamako. Malian independence brought not only a whiff of liberty and insouciance, “communist friendship with brother countries,” but also dreams of western society. Sidibé sometimes photographed five reports in one night before returning to the lab to develop the negatives. He would then display on the studio walls carefully numbered index prints which were glued on administrative folders. These are the “chemises” reproduced in this book. In the following days, the party people came to look at the folders and select the photos that they wanted to buy. The folders reproduced in this book constitute a significant catalogue of Sidibé’s work. Progressively, in the mid-seventies, youths met less frequently at clubs and went more often to night clubs which were not Malick’s haunts. He therefore shifted his activity to studio portraits and camera repairs. Read the review by 5B4...
Malick Sidibé was born around 1936 in Soloba, Mali. In 1952 he moved to Bamako where he still lives and works. His portraits and documentation of social life in Bamako, in particular his coverage of the activities of young people, have been widely acclaimed. In 1995 his works were shown for the first time outside Africa, in Paris, and have since been exhibited in Europe, USA and Australia. Read an interview ...
Christien Meindertsma has spent the last three years researching all the products made from a single pig. Amongst some of the more unexpected results were: Ammunition, medicine, photo paper, heart valves, brakes, chewing gum, porcelain, cosmetics, cigarettes, conditioner and even bio diesel.
Meindertsma makes the subject more approachable by reducing everything to the scale of one animal. After it's death, Pig number 05049 was shipped in parts throughout the world. Some products remain close to their original form and function while others diverge dramatically. In an almost surgical way a pig is dissected in the pages of the book - resulting in a startling photo book where all the products are shown at their true scale (1:1). Look at the video ...
Ata Kando (Budapest, 1913) is the daughter of Hungarian parents, writer Margit G. Beke and professor dr. Imre Görög. The acquisition of her present name is a complex story (Ata came from her first name Etelka, Kando is the name of her first Hungarian husband). She left for Paris in 1932 with her first husband, the painter Gyula Kando. After the war she was an assistant at the Magnum photo agency. Later she worked for Paris fashion houses and continued to do so after accompanying Dutch photographer Ed van der Elskento the Netherlands, whom she married in 1954.
In 1956 she together with her colleague Violette Corneliusphotographed the thousands of refugees fleeing after the defeat of the Hungarian revolution of 1956 on the far side of the Austria Hungary border, the side that ensured escape and security. That same year she published the 'Rode Boekje zonder Naam' (Red book without a title) in support of Hungarian refugees. The entire proceeds of which, half a million Dutch Guilders, she donated to the homeless refugees. The Nederlandsfotomuseum Rotterdam on the occasion of the 50th Anniversary of the Hungarian Uprising 1956 published a reprint of the photo book.
In 1957 her book "Droom in het woud" ("Dream in the forest") was published, a photo-fantasy featuring her children. In 1961 she went on a trip through the Amazon region and she became fascinated by the Indians. She returned to the area in 1965 for a lengthier stay. Exhibitions and publications featuring her photographs (also a book "Slaaf of dood"/"Slave or dead" published in 1970) played a significant part in informing the world about the destruction of the Amazon Indians and their culture. Ata Kando taught photography at the School of Graphic Arts in Utrecht and the AKI Academy in Enschede and she assisted many students, including well-known Dutch photographers Koen Wessingand Ad van Denderen. See also Fire beside the sea ...
Ata Kando's motto: "Regardless of where in the world I have been, I have felt that whenever I wasn't taking pictures, I was wasting my time."
Droom in het Woud by Ata Kando exhibition Naarden Epson Photo Festival 2007
Eva Besnyö in 1998, photo by Leo Erken
Eva Besnyö (1910-2003) In 1930, 20-year-old Eva Besnyö left Budapest to develop her photographic talents in Berlin. The Jewish Hungarian immersed herself in the stormy cultural and political life of those days and took a great number of her most beautiful photos. By 1932, the worsening political climate made her leave Berlin. She moved to the Netherlands, together with her eighteen-year-old Dutch boyfriend John Fernhout.
In the 1930s, Besnyö enjoyed photographic famein Holland and moved in the artistic circles of Fernhout’s mother, the painter Charley Toorop. During the war she was initially in hiding, but with help from the underground, she succeeded in obtaining a ‘gentile transformation’. From that moment on, she personally participated in the resistance, forging identity papers and other documents together with graphic designer Wim Brusse. They were married in 1946 and had two children, Bertus (1945) and Yara (1948).
In the 1950s, Besnyö was a much sought-after photographer. The following decade she fell into relative obscurity, but at the age of sixty she made a remarkable comeback as the photographer of the feminist movement Dolle Mina. When she displays her favourite photosat the Rosa Spierhuis in Laren, the Netherlands, the vast majority appear to originate from her Berlin period.
'I was still free then,' she says. 'I could do what I wanted. Then came Hitler, and it was all over.' Eva Besnyö died on 12 December 2003.
According to the ‘Plan Bleu’ sponsored by the United Nations Environment Programme, in the next 20 years around 205 million holiday or second homes will be built to accommodate 350 million tourists annually along the coasts of Turkey and Spain alone. This influx of tourism and the return of ‘westernised’ immigrants fuels religious and political radicalization. At the same time it is the fulcrum of major economic changes and ecological pressures.
The starting point of So Blue, So Blue was in 2001 when Van Denderen photographed a group of a hundred illegal immigrants landing on a beach in the south of Spain in rubber boats. Soaked to the skin, they ran off in the early morning light. Three hours later tourists appeared on the same beach, spreading out their towels to enjoy another sunny day. Realising that the region is riven with these inconsistencies, he has spent the past 5 years photographing in everycountry that borders the Mediterranean Sea. So Blue, So Blue is his personal attempt to make sense of the immense economic, political, socio-religious and ecological changes taking place around the open space that Europe, Asia and Africa have contested and shared for centuries. Lees meer...
Ad Van Denderen, born in 1943, worked as a photojournalist for Vrij Nederland, Geo and The Independent magazine, among others, and earned a number of prestigious prizes, including the Visa d’Or at the international photo festival Visa pour l’Image in Perpignan in 2001 and the oeuvre prize of The Netherlands Foundation for Visual Arts in 2007. His previous books include Go No Go, Peace in The Holy Land and Welkom in Suid Afrika. He is a member of Vu Agency. See for more GO No GO...
...Photography is the visual medium of the modern world. As a means of recording, and as an art form in its own, it pervades our lives and shapes our perceptions...
Chemises by Malick Sidibé Steidl , lees meer ...
Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events and ceremonies in Mali, including football matches, weddings, Christmas Eve celebrations and the surprise parties thrown by groups of youths belonging to “clubs.” The clubs were named after their idols and the styles of western music (Los Cubanos, Les Caïds, Las Vegas, etc.) which had just started being sold in Bamako. Malian independence brought not only a whiff of liberty and insouciance, “communist friendship with brother countries,” but also dreams of western 
society. Sidibé sometimes photographed five reports in one night before returning to the lab to develop the negatives. He would then display on the studio walls carefully numbered index prints which were glued on administrative folders. These are the “chemises” reproduced in this book. In the following days, the party people came to look at the folders and select the photos that they wanted to buy. The folders reproduced in this book constitute a significant catalogue of Sidibé’s work. Progressively, in the mid-seventies, youths met less frequently at clubs and went more often to night clubs which were not Malick’s haunts. He therefore shifted his activity to studio portraits and camera repairs. Read the review by 5B4 ...
Malick Sidibé was born around 1936 in Soloba, Mali. In 1952 he moved to Bamako where he still lives and works. His portraits and documentation of social life in Bamako, in particular his coverage of the activities of young people, have been widely acclaimed. In 1995 his works were shown for the first time outside Africa, in Paris, and have since been exhibited in Europe, USA and Australia. Read an interview ...
Bal Elèves sages-femmes, Grang Hotel, 13-04-1963 © Malick Sidibé / association GwinZegal
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