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 Finally, I look at the history of this photograph in the history of art and in its dimension of historical document, a problematic view of the Other, or more precisely as the center of a production of formal references and ideological.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 I work its aura of souvenirs and memories, with the idea of the historical document.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
