The Evolution or Death by Mounir Fatmi (November 10, 2009) 
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Bamako Encounters - Biennial of African Photography
Held every two years since 1994 based on research work conducted all over Africa, the Bamako Encounters, Biennial of African Photography seek to promote regional integration and facilitate North-South cultural exchanges by creating an international cultural centre in Bamako that testifies to the wealth and vitality of the photography produced on the continent. These Encounters constitute an opportunity for exchange and dialogue enabling African photographers to show off their talents, to meet one another, and to reveal their works to the world. But they are also a window that enables the general neophyte photography public to get to know photography as a means of expression.
The issue of Borders, Bamako Encounters' central theme in 2009 is eminently current and paradoxical in a world where, on the one hand, we proclaim and practice the disappearance of political and economic borders and, on the other, erect walls to protect them. Indeed, globalization and economic liberalism have made some lands highly porous, yet they have not prevented an increase in dissuasive and repressive measures to combat the flows of migrants caused by other imperatives. Download the press kit for more information (5MB).
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Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
Quickly, the attention is drawn to the title, beyond the contents of the work. Luck has no role to play here, every book is deliberately connected to another in order to create an emotion, a reaction, a semantic shift.
The interconnectedness arouses curiosity, with what and why have they been connected?
Now the trap set by these seemingly innocent objects closes and the shape of a bomb becomes evident. It displays the artist's fascinations for the evil beauty of destruction and the devasting power of words.
Each book is also a contextual enigma, do we decipher it or not.
Below the visual spectacle of the connectors lies a world of texts, sacred, profane, ideological or practical, harmless or menacing, bringing liberation or propaganda, or a sanctuary of resistance.
The installation places the book, a concept that tends to represent access to knowledge, in a new context. It questions the eclecticism of a single culture.
The cables embody a woldwide flow, circulation and transmission of ideas, that opposes all forms of ignorance and prejudice.
At the same time, they show us the contradictions between and the relativity of ideologies and religions and cultural preconceptions.
Mounir Fatmi constructs visual spaces and linguistic games that aim to free the viewer from their preconceptions of politics and religion, and allows them to contemplate these and other subjects in new ways. His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. They directly address the current events of our world, and serve to both clarify the origins and symptoms of global issues, as well as speak to those whose lives are affected by specific events.Mounir Fatmi (1970) lives and works in Paris, France.
Click weblink mounirfatmi.com or browse our archives
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