Other artists to watch out for include Johannesburg-based
, whose 13-minute, black-and-white film Sunday Light
(2013) is ostensibly an architectural portrait of his hometown, but is really a meditation on labor. Mimi Cherono Ng’ok, meanwhile, shows photographs she took in Kigali, Kampala, Nairobi, and Abidjan over the six months following the 2014 suicide of her friend, photographer Thabiso Sekgala, whose images appear in Silva’s show too. Sekgala, like many young African photographers, was interested in the place of people in the infrastructure of the city, an idea also explored by Mozambique photographer Filipe Branquinho in “Interior Landscapes” (2011-2014), a series of architectural studies of Maputo. There is a Havana-like quality to Mozambique’s capital, which houses many fine examples of colonial Modernism, notably art deco cinemas. Branquinho’s architectural photographs are not nostalgic documents, but rather capture a sense of the spaces that exist between time periods and realities, that change as the city itself evolves. Mali’s illustrious photography biennial is doing the same thing: adapting and evolving amid new realities.