Does Jcpenny Cut Hair

stories / pictures and stories intentions

I reflected on the black and white photography, Douala in Cameroon, then to the West. I put the photograph and its plasticity radical, lunar and Manichean (black and white) in the center of a perspective on a history of relations between whites and blacks in terms of skin colors of bodies, the history of our human relationships, political and economic. Finally, I look at the history of this photograph in the history of art and in its dimension of historical document, a problematic view of the Other, or more precisely as the center of a production of formal references and ideological.

I present several series that have been conducted for several years during the travel to Cameroon, with the end point, the district's New Bell (Ngangué) from Douala. I questioned the context of this neighborhood, and I work directly with people, self-production. I am joined by fellow artists, or people, or intellectuals. Some look like me what is really behind the idea of difference, some guide me in the history of the country.

I interrogate representations and figures: the crime scene, the hero, the image of white history. I put this picture black and white at birth proof, that of a physical reality and time. I work its aura of souvenirs and memories, with the idea of the historical document. I'm looking to get in the picture with contemporary realities, it seems that they are included in the political history of the relationship between "The Black" and "White". I question the history of art, history and Leni Rifensthal Nazi god (the gods of the stadium) and primitive deity (Nuba), a photograph of Man Ray, "the black and white."

Finally, I use this black and white photography in our codes to evoke the memory of political history and massacres committed by the French army at the turn of the sixties.

Like the French tradition of thought in history, I am sympathetic to heritage in its broadest sense, I use archeology, she knows the history in a near invisible, buried in the ground in contact our feet, and on which we build.

Philippe Niorthe

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Model of a credible image as a contemporary response to Man Ray

Pauline ill. March 2004 (computer editing)

Memo

Man Ray.

The Black and White. 1926

La Fitness Membership Counsler Job

/ Academy

March 2005



















Prime photographic work made in Cameroon in March 2005
Series representation of the model, produced, printed and exhibited at the New Bell area. Photographs 24X36 B / W Henry Murphy, actor neighborhood social and physical disability (he had polio).
Poses and laboratory work were carried out to K-Factory, local exhibition, workshop and residence at the time, managed by the circle Kapsiki
This series looks representation of the "hero model" and places the academic in a pespective political representation.
I searched with the Academy, a reference to the practice and the pursuit of school. One way to take a student up with the medium. And enjoy this place for students who would evoke a dunce obscene graffiti prints Leni Riefensthal.

Photos published in the journal South African
Chimurenga 10: Futbol, politricks & ostentatious Cripples
http://www.chimurenga.co.za/index.php
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Sonic Screwdriver 10th Metal

images and stories / landscape

February 2006
Region High N'Kam, around Bouffoussam

This second work speaks for first time in history, dramas of crime and places marked by a collective memory. It turns out they are attributable to the French army, with the government that goes behind it was between 1955 and 1970. The case seems huge but the calculations range from 200,000 to more than 400,000 dead. These are symbolic places of the history of France, when, around 1960, and the country's independence, the French army massacred or organized massacre of supporters of the UPC, for fear of surge in what it considered its territory, or socialism / communism and capable of challenging economic and strategic interests.
This work is working on the landscape, place and crime fiction of it.
It is divided into two sets, the place in its objectivity and documentary presentation, and place as the holder of a story, with a proposal for fiction.
The first round goes Bouffoussam at Bamendjou at Mjombé and natural sites (Lake Baleng, Falls metche) who has a history of that time saw executions, severed heads to intimidate the population, mass murder. This is for me to put myself in the position of inspector of police, forensic.

The crime scene
West Cameroon, a region of Bafoussam.

Photos of the maquis.
The second set refers to a fiction story. In this land of lush nature, I recall, with the foliage of trees, reflections in water or brush, the "flesh" of the landscape that I see many fertilized by the dead.

Myammee Real Chance Love

images and stories / pictures and a story

February 2006
Night Bana

That night, I wanted put me in condition, the next day I meet people, places, stories, and I have a box to take pictures with me.
I could have the work day, but I missed the sun, he had not expected.
So I am where I was at a house, a moonless night. With the top political stories of 1960, murders in the villages.
A goat was behind me, she reminded me: "....

Then the monster came, and small horns came into dance.
Ah, the good kid, as she There was good heart! More than ten times, I'm not lying, Gringoire, she forced the wolf to fall for breath. During these truces a minute, the greedy hastily picked another strand of his beloved grass, then she returned to fight with his mouth full ... This lasted all night. Occasionally Mr. Seguin's goat saw stars dancing in the clear sky and she said
- Oh! as long as I hold until dawn ...
....
piu and lou lou morning wolf ate "Alphonse Daudet

She had eaten fighting,
why?
While she knew she would die.

Drivers Dell Inspiron 1525 Sd Card Reader

stories / tourism

November 2006
The tourist photo as evidence of contemporary history.

I am in Cameroon with the tourist status, it says on my visa. I am invited to watch this country that I frequent. I know the landscape before me is a drawing of history.

Tourism with his desire to travel is a Western form and contemporary, that a commitment of self, which could amount to a kind of "performance" within the reach of everyone, more precisely, a performative experience physical, sensory and spiritual hope. It is a form unmarked cons of the report to another, operating here and there in search of all comforts. Material comfort that justice in terms of stars at the hotel and the comfort that reinforces its own intellectual history and comfort on a way of understanding the world: the practical collusion between history and geography. Tourism is also, by the growing mass of tourists, a new vector ideological, and perhaps a new form of media.

Cultural tourism is one that we would go to meet each other, between culture, great architecture with its standing or lying by the time and volcanoes, and in the small market town the "souk "With its spices and elsewhere that this would return the nostrils with the delights of ignorance.
It turns out that my perfume smells burnt elsewhere.

I Market Congo Congo ex Quarter, burned to the interests of a certain French policy in Africa (the denial of political independence, UPC: Union Populations of Cameroon) by French soldiers and Cameroon, and by local militias delegated the dirty work around the year 1960.
Hundreds of dead probably burn or suffocation, killed by machine guns for those who tried to leave the neighborhood, died in the wells for those who wanted to escape the flames and bullets. It is a place in our history, unquestionably, the French presence with his direct responsibility in fact a place in the history of France. My desire for general knowledge and my passion for my history now compels me to investigate the extent that nobody taught me so critical of contemporary history.
History is blank for me images, I am a freedom-responsibility in building a memory today is the image of my presence "tourist" that gives the house the monument status.

























With the exception of the picture "the issue of tourism ..." framed by me, the others were taken by Patrick Wokmeni. Patrick is a resident of the district where I live, today is a friend he has always been close to the arts district. I introduced him to photography in 2003, each of my coming, he "shot up" the neighborhood. For this work, we developed a simple protocol: I walk or I ask, I tell you the places where the photos interest me, you like frames you want.

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