BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news56@ethnologie.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20181012T094443 DTSTART;TZID=Europe/Zurich:20181017T161500 SUMMARY:Capturing Everyday Life from Two Perspectives – when photographer s imagine Mali and the sub-region (PhD project) DESCRIPTION:Today\, Malian photographers mainly work for four different mar kets. They make portraits in the photo studio\, cover wedding ceremonies a nd create works for the (inter)national art scene. Since the country’s d emocratization in 1991 a fourth market emerged\, namely picturing internat ional development and humanitarian projects accomplished in the country an d the wider sub-region by NGOs and since 2013 also by the UN peace mission MINUSMA. \\r\\nBy looking at photographers’ digital archives one reali zes that some of them are coming back with two bodies of work - an officia l one and a more “secret” one. The commissioned work is mostly taken a long international aesthetics which feed into the visual discourse that hi ghlights how the internationals help (actively) to relieve the pain of dis tant (passive) others. These pictures have to be taken in a manner that th ey provoke ‘a community of interest with the oppressed and the exploited ’ (Arendt 1973) among audiences predominantly in rich and stable societi es in the west. The second body of work which is made in scarce moments of spare time reveals a complete other perspective on people\, landscapes an d infrastructures\, political situations and everyday life encountered dur ing the journeys. By juxtaposing these different approaches\, it becomes c lear that Malian photographers can be very much seen as visual world broke rs. They understand how to play on different visual levels to make on the one hand pictures that fit into the international humanitarian aid circuit and on the other hand subvert this visual standardised agenda immediately by contrasting these pictures with a more personal\, poetic and intimate view on what is going on in their country. While the humanitarian and deve lopment pictures end up in an international media flow on global crisis\, the more intimate pictures stay in the realm of the invisible. \\r\\n \\r\ \n\\r\\nProgram of the Colloquium [t3://file?uid=352] X-ALT-DESC:
Today\, Malian photographers mainly work for four differen t markets. They make portraits in the photo studio\, cover wedding ceremon ies and create works for the (inter)national art scene. Since the country ’s democratization in 1991 a fourth market emerged\, namely picturing in ternational development and humanitarian projects accomplished in the coun try and the wider sub-region by NGOs and since 2013 also by the UN peace m ission MINUSMA. \;\nBy looking at photographers’ digital archives on e realizes that some of them are coming back with two bodies of work - an official one and a more “secret” one. The commissioned work is mostly taken along international aesthetics which feed into the visual discourse that highlights how the internationals help (actively) to relieve the pain of distant (passive) others. These pictures have to be taken in a manner that they provoke ‘a community of interest with the oppressed and the ex ploited’ (Arendt 1973) among audiences predominantly in rich and stable societies in the west. The second body of work which is made in scarce mom ents of spare time reveals a complete other perspective on people\, landsc apes and infrastructures\, political situations and everyday life encounte red during the journeys. By juxtaposing these different approaches\, it be comes clear that Malian photographers can be very much seen as visual worl d brokers. They understand how to play on different visual levels to make on the one hand pictures that fit into the international humanitarian aid circuit and on the other hand subvert this visual standardised agenda imme diately by contrasting these pictures with a more personal\, poetic and in timate view on what is going on in their country. While the humanitarian a nd development pictures end up in an international media flow on global cr isis\, the more intimate pictures stay in the realm of the invisible. \n < b>\n\ nProgram of the Colloquium DTEND;TZID=Europe/Zurich:20181017T180000 END:VEVENT END:VCALENDAR