BRUNO BOUDJELAL

Nii Obodai documented the daily lives and struggles in Old Fadama. His photos are an integral part of the video Negotiating Space: Old Fadama, which is collected by the Guggenheim Museum in New York. In the first phase of the project, Nii Obodai created a short photographic film, The MisAlignment of a Polarized Black Star, which reveals the uncertainty and chaos of slum dwelling as community members were evicted and their homes demolished. The collaborators of this project hope to provide a catalyst for meaningful discourse among civil society organizations, community stakeholders, government agencies, concerned individuals and the broader global community on the environmental and social realities of poverty and unchecked urbanization. Their goal is to inspire action on the restoration and preservation of natural water systems and the positive inclusion of slum communities in the urban fabric of African cities.

Who Knows Tomorrow ? The Ghanaian Journey
Exposition duo de Bruno BOUDJELAL & Nii OBODAI.
23 Janvier — 8 Février 2014 / Galerie Philippe Lawson.

Bruno Boudjelal

La tête est récurrente dans l'œuvre d'Antônio, car, si elle loge la divinité qui préside à la destinée du sujet dans la religion yoruba, elle symbolise aussi l'eidos qui informe la morphée pour en révéler son intime vérité.

 

Who Knows Tomorrow is a collaboration between Nii Obodai and Bruno Boudjelal, a French- Algerian photographer. The book is dedicated to Nii Obodai’s father, Henry Sonny Provencal, who had a close relationship with Ghana’s first president Kwame Nkrumah. In producing this book, Nii Obodai was inspired by the conversation he had with his father about independence. It’s a photographic examination of the country’s enthralling urban and rural landscape.

Nii Obodai’s contribution to Who Knows Tomorrow includes four photographic poems: The Passing, which is about the transient nature of our being; Portraits as We Are, a collection of photographs portraying the people Nii Obodai meets in his travels; 1966, which looks at the visual traces of the overthrow of Ghana’s first president, Kwame Nkrumah; Galamse, which is a panoramic view of illegal gold mining in Ghana, the mines are juxtaposed with photographic images of the furthest coastal village bordering Cote d’Ivoire.

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