Igo Diarra, Artistic Director of Bamako Encounters, discusses the interplay between Visual Narratives and Oral Traditions, the impact of AI on photography and the Biennale’s visual legacy.
La traversée, Les re-enchanteresses. © Arnold Tagne Fokam
Bamako Encounters, the prestigious Biennale of African photography, returns this year under the thematic focus of “Kuma,” meaning “the word.” Curated by Igo Diarra, this edition explores the intricate relationship between language and visual imagery, challenging the traditional view of photography as a “silent” medium. With “Kuma” as a lens, artists are invited to engage with the dynamic interplay of words—whether spoken, written, or implied—and images, prompting reflections on how both forms of expression complement and confront each other. In this conversation with ART AFRICA, Diarra delves into the conceptual underpinnings of the theme and the ways it invites artists and audiences alike to rethink the boundaries of communication in contemporary African photography. He also sheds light on the contributions of the diverse curatorial team, whose perspectives from across Africa and the diaspora help shape a biennale that reflects the richness of African storytelling, memory, and identity.
© Victor Adewale
ART AFRICA: This edition’s theme is “Kuma,” which focuses on the concept of “the word” in all its forms. What inspired the selection of this theme, especially in the context of photography, an art form traditionally seen as “silent”?
Igo Diarra: The theme “Kuma,” which means “the word,” indeed draws inspiration from the power of language in all its forms—oral, written, or symbolic—and its role in shaping our understanding of the world. In the context of photography, an art traditionally considered “silent,” this theme encourages us to reflect on the relationship between images and words. Photography, although a visual medium, often tells stories or conveys ideas without resorting to verbal language, yet it is intrinsically linked to narratives and interpretations, thanks to its unique ability to evoke emotions and provoke deep reflections. This dialogue between image and word enriches our perception and invites us to explore the meanings hidden behind each image. “Kuma” aims to inspire both artists and the public to delve into the interplay of images and words and how they interact, complement, or confront each other.
This theme highlights the fluid boundaries between the visual and verbal realms in today’s world, where visual media are omnipresent and often accompanied by text—be it captions, press headlines, or comments on social media. It also underscores the idea that photography, while silent, can be as powerful and expressive as any spoken or written word, creating its own language of meaning, memory, and identity.
By choosing “Kuma” as the theme, we sought to push the boundaries of our interpretation of photography, encouraging us to see it as part of a broader communication system encompassing both what is seen and what is said. This exploration takes on even greater significance in African contexts, where oral traditions and storytelling have long been at the heart of cultural expressions.
© Amine Oulmakki
How do you envision the dialogue between the spoken or written word and visual imagery unfolding in this year’s exhibition? Can you share a few examples of how selected artists explore this interplay?
This year’s central exhibition, “La Panafricaine,” has been conceived as a dynamic dialogue between the word, whether spoken or written and visual imagery, where both elements interact to enrich the visitor’s understanding and experience. Rather than viewing words and images as distinct forms of communication, the exhibition seeks to highlight how they complement, enhance, or sometimes even contradict each other, creating deeper layers of meaning.
Several artists in this edition explore this interaction in innovative ways. For example, some directly incorporate text into their photographic works, where words appear within the composition or as a parallel narrative, inviting the audience to engage simultaneously with visual and verbal elements. This creates a dual experience: the image communicates in its own language of symbols, colours, and shapes, while the text provides context, challenges perceptions, or adds another layer of interpretation. Cynthia Matonhodze’s A Place to Call Home is an exploration – in photographs and archival material – of what home means to a former migrant worker, William Phiri, who has now aged and lives in a home for the elderly in Dete, a town in the north-west part of Zimbabwe.
Other artists draw inspiration from oral traditions, which intertwine between visual and oral narratives. In these works, the narrative may not be explicitly written but suggested through imagery, tapping into collective memory, folklore, or personal stories. This approach allows the audience to “perceive” the narrative through the image, evoking a rhythm and voice without resorting to written or spoken language. Mounir Fatmi’s Calligraphy of Fire presents a set of situations, each of which links the idea of knowledge with light, and its absence, as a darkness, a void. If the burning candle symbolises life, illumination, and knowledge, as it is throughout much of art history, in the left-hand image, the snuffed candle could suggest impending darkness, the possible smudges as a form of censorship.
A strong example comes from artists who work with archival materials, combining historical photographs with contemporary reflections in the form of text, thus creating a conversation across time. This juxtaposition allows for a re-examination of history, where the written word contextualises or reinterprets what the photograph documents in silence. Jeannette Ehlers’ I & I features an archival photo of a woman named Sarah and a large video projection of eight Black women, accompanied by a poetic voiceover. The work reflects on her role as neither a maid in the Danish West Indies nor a model for the house’s owner, Danish pharmacist and photographer Alfred Paludan-Müller. The installation explores themes of observation, power, resistance, and the Black female body, connecting these across time and place.
In summary, the aim has been to challenge the notion of photography as a purely silent medium by demonstrating how the word—whether spoken, written, or implicit—can bring new dimensions to visual art, thereby offering a more complete and nuanced narrative.
© Sthembiso Zulu
The curatorial team for this edition includes commissioners from across Africa and the diaspora, including Nadine Hounkpatin (Benin), Manthia Diawara (Mali), Soufiane Er-Rahoui (Morocco), Oyindamola (Fakeye), Faithfull (Nigeria) and Patrick Mudekereza (DRC). How will their unique perspectives and contributions shape the vision and direction of this year’s Biennale?
The diversity of the curatorial team, composed of commissioners from across Africa and the diaspora, will profoundly shape the vision and direction of this year’s Biennale. Each curator brings a unique cultural, intellectual, and artistic perspective, informed by their experiences and contexts, creating a multifaceted approach to the exhibition.
For example, Nadine Hounkpatin from Benin contributes to a profound understanding of contemporary African art by emphasising identity, heritage, and memory issues. Her work often stresses the importance of reclaiming African narratives, which is essential for shaping how African photography and visual culture are presented on the international stage. Additionally, she is dedicated to increasing the visibility of women artists from the continent and its diasporas, ensuring that their voices and perspectives are represented and celebrated.
Manthia Diawara from Mali, an acclaimed filmmaker and scholar, adds a rich layer of theoretical insight. His background in African cinema and postcolonial studies will likely influence how the Biennale addresses the intersections of art, politics, and history, providing a more critical and reflective lens on African art’s role in both local and global discourses.
From Morocco, Soufiane Er-Rahoui brings expertise in North African art, a region often underrepresented in broader discussions about African art. His perspective ensures that the Biennale will reflect the continent’s diversity, highlighting the unique visual and cultural languages emerging from North Africa, alongside those from sub-Saharan Africa.
Oyindamola (Fakeye) Faithfull from Nigeria brings an interdisciplinary approach, often working at the intersection of art, technology, and social practice. Her contribution will likely foreground how contemporary African artists engage with new media and digital platforms, making this year’s Biennale relevant to today’s rapidly changing technological landscape.
Lastly, Patrick Mudekereza from the Democratic Republic of Congo offers a strong focus on collaborative and socially engaged practices. His background in community-based projects and activism will likely encourage a Biennale that is not just about presenting art but also about fostering dialogue, social transformation, and engagement with the public.
Together, these curators will ensure that the Biennale is not monolithic but rather reflects the rich diversity of African experiences and artistic expressions. Their varied contributions will shape an exhibition that is as intellectually rigorous as it is culturally and aesthetically diverse, showcasing a broad spectrum of African narratives, techniques, and themes.
Igo Diarra. ©MAP Sékou Diallo
This year, there were many submissions from around the world. How do you balance the representation of African artists with the growing global interest in the Biennale?
Balancing the representation of African artists with the growing global interest in the Biennale is a central challenge, but also a significant opportunity. The Biennale has always been dedicated to showcasing African photography and visual art, so our primary focus remains on providing a platform for African artists, especially those whose work reflects the diversity, complexity, and dynamism of the continent’s contemporary art scene.
However, the increasing international interest in the Biennale enriches the conversation by positioning African artists within a global context. To achieve a balance, we prioritise African artists and curatorial projects while embracing submissions from around the world that engage meaningfully with African themes, histories, or aesthetics. This allows for a dialogue between African and non-African perspectives, promoting cross-cultural exchanges without diluting the Biennale’s core mission.
We also carefully consider the selection process to ensure that the visibility of African voices remains at the forefront, while simultaneously welcoming global contributions that add value and depth to the narrative of African art. This approach amplifies African creativity and opens up new possibilities for collaboration and mutual influence between artists from different parts of the world. In this way, the Biennale remains a space for both African-centered expression and international engagement.
© Nabil Boutros
The statement for this year’s Biennale touches on the challenge posed by artificial intelligence. Is AI affecting photography and African artists’ role in this rapidly evolving way of image-making?
Yes, artificial intelligence (AI) is having a growing impact on photography, and African artists are increasingly engaging with this rapidly evolving medium. AI is transforming how images are created and how they are perceived, distributed, and understood. For many African artists, AI presents both opportunities and challenges in their creative process.
On one hand, AI offers new tools for experimentation, allowing artists to push the boundaries of traditional photography. They can now explore new forms of digital manipulation, algorithmic aesthetics, and generative art, creating images that challenge the conventional understanding of what photography can be. This has opened up a space for African photographers to innovate and engage with global conversations on technology and art, bringing unique perspectives from the continent to these debates.
On the other hand, the rise of AI raises important questions about authorship, representation, and authenticity. African artists are critically engaging with these issues, particularly how AI-driven technologies might perpetuate biases or distort the portrayal of African identities. By reflecting on these challenges, they are creating visually compelling work and contributing to broader conversations about ethics, technology, and cultural representation.
In essence, AI is reshaping the role of African photographers by offering new creative possibilities while also prompting more profound reflections on the implications of technology in image-making. The artists featured in this year’s Biennale are at the forefront of this intersection, using AI both as a tool for innovation and as a subject of critical inquiry.
© John Moussa Kalapo
The Biennale celebrates 30 years of showcasing African photography. Please share your thoughts on the evolution of African photography over these three decades and what role Bamako Encounters has played in shaping this narrative.
The evolution of African photography over the past 30 years has been remarkable, reflecting broader socio-political changes, technological advancements, and a growing appreciation for African narratives on a global scale. The Biennale has played a crucial role in this process by revealing numerous talents who have become international leaders in the field. Providing a platform for African artists has also increased the visibility of many creators, highlighting their works and unique perspectives. Through this space for expression, emerging artists have gained recognition on the international stage, thus enriching the global artistic landscape while fostering an enriching intercultural dialogue.
One significant factor in this evolution has been the emergence of contemporary African photographers who actively challenge stereotypes and redefine the medium. They explore themes such as identity, memory, migration, and social justice, employing innovative techniques and approaches that resonate with local and global audiences. This transformation characterises a greater emphasis on personal narratives, storytelling, and the exploration of the complexities of African life.
The Bamako Encounters, since its inception, has played a pivotal role in this narrative. As one of the leading photography biennales in Africa, it has provided a vital platform for emerging and established photographers to showcase their work, engage in dialogue, and collaborate across borders. The Encounters have not only highlighted the diversity of African photography but have also fostered a sense of community among artists, curators, and audiences.
Through thematic exhibitions and workshops, Bamako Encounters has encouraged artists to reflect on their own practices and the socio-political contexts in which they operate. This has led to a richer discourse surrounding African photography, helping to position it within the global art scene while also emphasising its distinctiveness. The Biennale has also supported the development of photography as a medium for social change, empowering artists to address pressing issues within their societies.
In summary, the past 30 years have seen African photography evolve from a marginalised form of expression to a vibrant and integral part of the global art landscape. The Bamako Encounters have been instrumental in shaping this narrative, celebrating the richness of African visual culture and paving the way for future generations of photographers to continue exploring and redefining their art.
The 14th edition of Bamako Encounters will be taking place from the 16th of November, 2024, until the 16th of January, 2025. For more information, please visit the 14th Bamako Encounters.
