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Sammy Baloji

Retour à l’authenticité, vue de la Pagode du Président Mobutu, N’sele, Kinshasa 2013., 2013

Digital print on Innova Ultra Smooth Gloss 285gr/m2 (Baryt Paper)
31 1/2 × 31 1/2 in
80 × 80 cm
About the work
Provenance
Galerie Imane Farès
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Printed on Epson Stylus Pro 11880

Printed on Epson Stylus Pro 11880

Medium
Photography
Series
Triptych - 80 x 80 cm (each)
Sammy Baloji
Congolese, b. 1978
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Sammy Baloji’s artistic concern is rooted in the daily life of Congolege people, and he uses photography to explore his country’s present and to retell its history from the perspective of its people. “Ethnography, architecture, and urbanism [are] among my current focuses,” he has written. “My reading of the Congolese past is a way of analyzing African identity today, through all the political systems that the society has experienced.” He often combines archival photographs with his own shots of the people and places bearing the marks of colonialism. In his “Mémoire” series (2006), for example, he focuses on the former mining town of Lubumbashi. By superimposing photographs of the people who worked and ran the mines over his own images of these now disused structures, he reveals the ongoing ramifications of the past.

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Provenance
Galerie Imane Farès
Follow

Printed on Epson Stylus Pro 11880

Printed on Epson Stylus Pro 11880

Medium
Photography
Series
Triptych - 80 x 80 cm (each)
Sammy Baloji
Congolese, b. 1978
Follow

Sammy Baloji’s artistic concern is rooted in the daily life of Congolege people, and he uses photography to explore his country’s present and to retell its history from the perspective of its people. “Ethnography, architecture, and urbanism [are] among my current focuses,” he has written. “My reading of the Congolese past is a way of analyzing African identity today, through all the political systems that the society has experienced.” He often combines archival photographs with his own shots of the people and places bearing the marks of colonialism. In his “Mémoire” series (2006), for example, he focuses on the former mining town of Lubumbashi. By superimposing photographs of the people who worked and ran the mines over his own images of these now disused structures, he reveals the ongoing ramifications of the past.

Sammy Baloji

Retour à l’authenticité, vue de la Pagode du Président Mobutu, N’sele, Kinshasa 2013., 2013

Digital print on Innova Ultra Smooth Gloss 285gr/m2 (Baryt Paper)
31 1/2 × 31 1/2 in
80 × 80 cm
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