For more than five centuries the fortunes of the Niger Delta have been closely tied to that of the global economy. For its slave ports, then palm oil industry, and most recently, through the discovery of crude oil in the 1950s. Oil multinationals soon came to the fore, working in alliance with a local elite to strip the region of its wealth and despoil it. At the receiving end are the region’s impoverished inhabitants: left with a poisoned environment, faced with a government that never cares and victims of rival armed militant groups laying claim to territories.
from Delta Nigeria – The Rape of Paradise
on the web:
Christian Riedeberger
OBJETIVO►BCN ha sido un proyecto de fotografía documental comisariado por Samuel Aranda, fotógrafo de The New York Timesy ganador del Premio World Press Photo 2012. El objetivo del proyecto ha sido crear un relato visual colectivo a través de 200 miradas de la ciudad.
Después de meses de trabajo junto a profesionales de reconocida trayectoria, Abbas • David Airob • Toni Amengual • Samuel Aranda • Walter Astrada • Juan Manuel Castro Prieto • Cristina García Rodero • Joan Guerrero • Fernando Moleres • Emilio Morenatti • Navia • Txema Salvans • Moises Saman • Carmen Secanella, La Virreina Centre de la Imatge expone una selección de las fotografías realizadas por los participantes.
Esta exposición se complementa con la presentación de varias muestras en los 12 centros cívicos participantes y con una exposición de fotografías en distintas estaciones del metro de Barcelona.
From: http://ccobjectiubcn.bcn.cat/2014/es/
Usura, 2012.
Paulo Nozolino is one of the central figures of contemporary photography. His journey begins in the 70’s in London where he went to live. Then Paris, from the late 80s and throughout the 90s, was his basis for a long series of travels across the Arab World, as well as Europe, after the fall of the Berlin Wall. Books like Penumbra and Solo are good examples of his political concerns with a changing society. He returned to Portugal in 2002, after an anthological exhibition – Nada – at the Maison Européenne de la Photographie in Paris. In 2005, Museu de Serralves, in Porto, invited him to a new anthological– Far Cry – first time ever to show work by a Portuguese photographer.
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Part of his series on sex workers in Lourenço Marques (published in the 2004 book Our Nightly Bread) was included in the 1996 exhibition In/Sight: African Photographers 1940 to the Present at the Guggenheim Museum. In these extraordinary images, made in the 1960s and ’70s, Rangel’s sensitivity to his subject matter and his affection for the city of his birth are clear. In the nightclubs of Lourenço Marques it seemed possible to put aside the constraints of life in a repressive society. Sailors from international vessels docked at the port made their way to clubs like Casablanca and the Ritz, where they mingled with locals, soldiers, and holidaymakers from apartheid South Africa. Experimenting with fast film, Rangel shot without flash in the clubs, unobtrusively making images that would represent a pivotal moment in the history of Mozambique, between the death of colonial rule and the civil war that followed independence. This work cemented rangel’s reputation as the foremost documenter of Mozambican life, demonstrating his formidable aesthetic sensibility and the humanity that underpinned his images.
in: Aperture
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Contemporary Photography Index
Contemporary Photography Index 