Eye on Bamako

Abstract

The Rencontres de Bamako or ‘African Photography Biennial’, held in Mali’s capital city, is the only biennial devoted to photography from Africa and the only international photography festival routinely held on the African continent. Since its first edition in 1994, the event has picked up impressive momentum and has caught the attention of jet-setting curators, critics, and dealers and brought exposure and international patronage to a lucky handful of photographers. The biennial has also been controversial. Some of the reasons for this controversy are familiar and echo long-standing issues in the presentation of African art to Euro-American audiences. Other criticisms raise broader problems connected with the globalization of markets and of image culture. These are increasingly voiced by a younger generation of artists, activists, and curators who are exploring new ways of working in and with the global art market. This essay seeks to give a critical and analytical account of the biennial, through conversations with key players, and it explores emergent strategies to avoid dependence on the old North-South funding structures.

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