3 Young, gifted and black

Fotofeis gets under way at Edinburgh‘s Fruitmarket Gallery with a vibrant show from two African photographers. Robin Baillie joins in the celebration of daily life in ' g \ Mali. L

Africa the mysterious. Africa the hidden other. This can often be the

herception ol‘the African continent in -. ' i ~ . . 1 <~ ~ I the Western World. Conversely. in these T Bamako 1954-7 by seydou “"3 photographs of Malian society from the I hand of his traditionally attired [hm scam h, Such-h mu mm bum [hc l‘emale beauty. in swimsuits. standing 50s to the present day. this particular ' daughter: they stand against a huge past and [hc mth Herc lhc st‘l.0n[uli[\,‘ Uphmhc cuch other with large rocks pan of Africa seems to lay itself out ' lloral backdrop and beneath their feet is 01' African Sculpture mu.“ [hc Sh“ ' v poiscd in moh- hzmds mad}, [0 he “Cm” “5 l" h“ "cud ‘md “HWY”! i” a “W (“1‘3 5‘9"." *0” “5“”: “9 WC 3 camera (a wide format varietv). and the thrown. It is a remarkable image both ‘W‘C “f happy SCH-confidence. . person emerging through the visual gmw‘ [misc and (hrccmcw ()fh1illiuh “my shrimhhch as an elemental 89‘1"“ Ken“ 3"" M‘HiCk swim“ in "uppingS 0f 11 hybrid WWW ‘0 511)} 1’ lite resounds like a drum in the confrontation. and modern in its “‘9” (“WWW Wit)“. CNN“! “"3805 in ‘Here I am. and here I stand.‘ photographs. playfulness. As such Sidibe's work is w'mmmm” With their Sim” Km“ I H is th-‘C (“sand 591W“ mi“ “Wk 91” Malick Sidibe began as a the perfect to” to Keita's formality. quiCkl-v became ""9 “f U“: "KN “1 “5 “'0'” “‘9 llhOlUi—‘rilllhs‘ “9' m“ documentary photographer of This exhibition offers us the pleasure t'ashionable portrait photographers in . 1 anthrotwlogicul "INC" 5" [’C'mk‘d h)’ construction sites. roads and dams. but of looking. of reading the signs of 1950‘s Bamako. the Malian capital. lbs I [hc \VCSL Kcim‘ who Claims [0 have “ his ummhm h) lhC emerging unmhc]. Chhum‘ 0f hfcmifmm mhcr “WPIC “Wing and P0505 illlrilClCd mt“ been totally unaware of Western \otllh culture ol~ ()(ls' Mali. which was individuals in whom we can learn to “CW Ul'hiln Chi-“CS 1‘5 [119’ VL‘INUI's‘d . V photography. seems to bring the same based on imported Western pop music. see ourselves. towards the European “'CMFIC 0' lhc'r unflinchineg centred ga/e to his llis pictures range from spontaneous Sci-(Inn Keitu uml Ala/[ck Sidiby’; tormer colomal masters. lnione double ' whims“ as that dwiu‘wd by [he n-wch thlm.L._lmh “Chm h, [hc hmcri I’lio/oum/i/ts [mm Muh- u, The “mm” 1‘ pmud “‘[hcr- ‘” P'll'smpul l‘)th century master Nadar. 'l'hc sillcl'x‘ confrontation ol (inn/ml (liar xlmis aver I'i'llilliilli'kfll dial/err. [:i/lilblll'ull. Until wool suit and solar topi. clutches the fur-c caught in a momimcntalised present pm,“ pnh‘ which mum.“ u male and 2/ UN '

Hunt erian Art Gallery University ofGlosgow


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