#Belgian senegalese photographer

[atoubaa]

Wedding Affairs (Bavegem, Belgium, 2019) - Awa Gaye

[ww1-uniforms-tournament]

Belgium on the left, Senegal on the right.

Welcome to the Half-Finals!

Today's uniforms are drastically opposed in colour, with Belgium's very dark blue (appearing black on pictures) and the Senegalese tirailleurs in red, blue and yellow accents.

Interestingly, this bracket shows the two processes used to get colour photography in the early 1900s. The one on the left, depicting the Belgian soldier, is the cheapest one; the photograph was first taken in black and white and then re-coloured by hand using various media like watercolours or crayons. The one on the right, brand new at the time of the First World War, is a Lumière-patented process called "autochrome" which allows the picture to be taken directly in colour.

[african-international-magazine]

Rediscovering Senegal's Photographic Heritage

By Jemimah Chungu 

A captivating narrative of Senegal's rich photographic legacy emerges from the pages of a new book authored by Guilia Paoletti, an assistant professor at the University of Virginia's Department of Art. In a revelatory exploration, Paoletti delves into the vibrant tapestry of Senegalese photography, unearthing a treasure trove of previously unseen images that illuminate the country's historic modernity and cultural richness.

At the heart of Paoletti's narrative lies a visual journey spanning centuries, capturing the essence of Senegal's socio-cultural evolution through the lens of pioneering photographers. From the earliest surviving daguerreotypes dating back to the 1800s to the dawn of modern studio photography, the book offers a window into a bygone era characterized by elegance, sophistication, and artistic expression.

Speaking with CNN, Paoletti challenges conventional narratives surrounding the history of photography, debunking the notion of it being solely a Western invention. Instead, she highlights Senegal's pivotal role in shaping the medium's trajectory, with indigenous photographers asserting agency and creativity in capturing the essence of their society.

Central to Paoletti's narrative are the remarkable stories of Senegalese women, such as the signare – a class of Black or mixed-race women who wielded significant influence and commissioned portraits as a means of self-expression. Through their patronage, these women defied traditional gender norms and asserted their social status, leaving an indelible mark on Senegal's photographic heritage.

However, alongside tales of empowerment and agency, Paoletti also uncovers instances of colonial prejudice and erasure. The encounter between Belgian explorer Adolphe Burdo and the "King of Dakar" serves as a poignant reminder of the clash between modernity and colonial hegemony, with European perceptions often overshadowing African agency.

Despite the challenges of colonialism and cultural hegemony, Senegal's photographic tradition endures as a testament to resilience and creativity. From the decorative collages known as "xoymets" that adorned wedding ceremonies to the proliferation of studio photography in the 20th century, Paoletti paints a vivid portrait of a society deeply intertwined with the art of image-making.

As Senegal's photographic legacy finds renewed recognition and appreciation, Paoletti's book serves as a beacon of cultural revival, offering a fresh perspective on the country's rich heritage. With each image and anecdote, it invites readers to embark on a journey of discovery, celebrating the ingenuity and creativity of Senegal's past and present photographers.

In shedding light on Senegal's photographic heritage, Paoletti's work transcends the confines of academia, offering a poignant reflection on the power of imagery to shape narratives and reclaim lost histories. Through her meticulous research and storytelling prowess, she invites us to reimagine Senegal's past and embrace its photographic legacy as a source of inspiration and cultural pride. (Some excerpts from CNN)

[soccerdrawings]

Five Doubts You Should Clarify About Top 8 Best Soccer Leagues In The World | Top 8 Best Soccer Leagues In The World

10. Kalidou Koulibaly — SSC Napoli

8 best soccer players | World, Amazing gardens, Sweets cake - top 10 best soccer leagues in the world | top 10 best soccer leagues in the world Almost all of Europe's bigger clubs are rumoured to be absorbed in demography Kalidou Koulibaly abroad from Napoli.Manchester United and Manchester City appetite him, says Transfermarkt, as does Chelsea, according to Calcio Mercato. Football Espana says Real Madrid are afterwards him, and Football Italia says Paris Saint Germain are, too.Why wouldn't they be?The Senegalese has been unwaveringly solid for a cardinal of years now, and was as acceptable as anytime in 2019. He was called Serie A's best apostle for aftermost season, and additionally in the Africa Cup of Nations' Aggregation of the Tournament. 9. Sadio Mane — Liverpool FC When addition is accustomed Lionel Messi's allowance of approval, you apperceive they charge be good.At 2019's FIFA Best Awards, the Argentine voted Sadio Mane as his cardinal one amateur in the world. Unfortunately for the Liverpool ablaze however, he didn't alike accomplish the top three in end."It's a abashment to see Mane accomplishment in fourth place," Messi told Canal at the time, says Goal. "Mane accomplished a abundant year that was aberrant for the absolute Liverpool team. That's why I chose him." 8. Eden Hazard — Real Madrid Few in apple football accept bigger dribbling abilities than Eden Hazard. That's approved best by the actuality that over the aftermost decade, the Belgian completed added acknowledged dribbles than any added amateur in the Premier League, managing an absurd 909 during his time with Chelsea. Since affective to La Liga, he's maintained those aerial standards, averaging 4.4 dribbles per adventurous — the additional accomplished in the analysis abaft alone Lionel Messi. He has alone played seven amateur this appellation due to abrasion however, so already he's absolutely fit, that boilerplate is acceptable to acceleration alike higher.

The world's best footballers: the top 8 list | Football .. | top 10 best soccer leagues in the world 7. Paul Pogba — Manchester United Paul Pogba didn't alike accomplish the top 50 of Business Insider's best players of 2019 list.Since affective to Manchester United in 2016, the Frenchman has bootless to carbon the anatomy he showed at antecedent club Juventus. That is by no accountability of his own, however.Former United administrator Jose Mourinho bootless to see eye-to-eye with Pogba, oft either arena him out of position or abbreviating him completely. The 26-year-old additionally wasn't helped by the audible abridgement of affection about him at Old Trafford. A added authentic absorption of Pogba's adeptness is aback he plays for his country. He leads the band like a accurate midfield general, arena with flair, grace, and adeptness in according measure, but best importantly, with a smile on his face.A adored Pogba is a apple chic Pogba.   6. Kylian Mbappe — Paris Saint Germain If you were to attending at Kylian Mbappe's bays cabinet, you wouldn't accept he is still alone 21 years old.A Apple Cup, three Ligue 1 titles, and the Coupe de France are aloof a few of his aggregate honours. Individually, he's won the Golden Boy award, the Ligue 1 Amateur of the Analysis trophy, and Ligue 1's top scorer prize. He additionally has 122 career goals to date already, which is far added than both Lionel Messi (50) and Cristiano Ronaldo (36) had managed by the time they accomplished the aforementioned age.Should he abide in the aforementioned fashion, the Frenchman has the aptitude to beat both as the avant-garde game's greatest anytime goalscorer, and conceivably even, player. 

Ranking - Top 8 Best Football League In The World - top 10 best soccer leagues in the world | top 10 best soccer leagues in the world 5. Kevin De Bruyne — Manchester City If Kevin De Bruyne were a car, he'd be a Rolls Royce Phantom. Classy, elegant, and luxurious, but with a able 450 bhp agent hidden abroad beneath its hood. The Belgian ablaze plays the adventurous effortlessly, but to adverse effect.His ambit of casual is additional to none, and, aback accumulated with his abstract aboriginal blow and astute acquaintance of what's accident about him, it agency he can behest any game.The 28-year-old's adeptness to alluvion accomplished defenders at the bead of a accept additionally evokes memories of a prime Zinedine Zidane. 4. Virgil Van Dijk — Liverpool FC "Think of the best defenders in Premier League history — John Terry, Rio Ferdinand, and Nemanja Vidic. Van Dijk is all three players formed into one."Those were the words of above Liverpool and England ablaze Jamie Redknapp, according to Goal.A adventurous statement, but one difficult to altercate with accustomed aloof how accomplished the Dutchman has been aback his move to Anfield in aboriginal 2018.His Terry-esque heart, his Ferdinand-esque brain, and Vidic-esque animality accept adapted Liverpool's aback four into the best in Europe. Should Jurgen Klopp's ancillary win its aboriginal anytime Premier League appellation as accepted this season, a lot of acclaim will, and accurately so, go to Van Dijk.  3. N'Golo Kante — Chelsea FC On the pitch, N'Golo Kante does not comedy like a superstar. He doesn't accept agitating footwork, he rarely scores, and he never absolutely acreage himself in hot water.  

Global Club Soccer Rankings | FiveThirtyEight - top 10 best soccer leagues in the world | top 10 best soccer leagues in the world Off it, he doesn't act like one either. No blatant cars (he still drives a Mini Cooper), no adorned artist clothes, and no partying til the aboriginal hours. But that is absolutely what makes him so unassumingly, but terrifyingly, brilliant. Whether it's block the brawl relentlessly for 90 mins, sitting in advanced of the aback four, or arena as an advancing midfielder, the able 28-year-old consistently adds value, and a lot of it.  2. Neymar — Paris Saint Germain Neymar didn't accept a decidedly memorable 2019. Injuries, suspensions, poor form, advancing alteration rumours, and off-field problems all fabricated for one of the affliction years of his career.A asperous 12 months abreast however, the Brazilian charcoal an acutely accomplished footballer, who has the adeptness to change a adventurous like no added amateur in apple football, bar Lionel Messi. Seductively skillful, a acute passer, and capital finisher — Neymar has it all in his arsenal. At 27, he still has affluence of time to accomplish his abeyant as the world's best which he showed during his time at Barcelona.  1. Lionel Messi — FC Barcelona Lionel Messi has already been mentioned a lot in this article, alike afore we've accomplished him. "Lionel Messi's allowance of approval." "Bar Lionel Messi," "Behind alone Lionel Messi."Anything and aggregate every added amateur does gets instantly compared to the Argentine. Why? He is the best. At everything.He runs with the brawl like no added player, passes a brawl bigger than anybody else, and, of course, he array the best goals — 717 in absolute to date. Diego Maradona may accept been adored with God's hand, but Messi got the rest. 

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[ownerzero]

The Children of Gaia Emerge from Ecological Crises in Photographs by Fabrice Monteiro

The Prophecy #7, Fabrice Monteiro. Baryt prints in color, images courtesy of the artist. For his multiyear project titled “The Prophecy,” Belgian-Beninese photographer Fabrice Monteiro confronts global issues of ecological devastation. The striking images in the project combine haute couture, spiritual figures, and staged scenes of pollution and decimation. Made in collaboration with Senegalese fashion […]

The post The Children of Gaia Emerge from Ecological Crises in Photographs by Fabrice Monteiro appeared first on AWorkstation.com.

source https://aworkstation.com/the-children-of-gaia-emerge-from-ecological-crises-in-photographs-by-fabrice-monteiro/

[caveartfair]

How Auction Houses Can Improve the Ways They Describe Non-Western Art

Attributed to a Songye master artist, The Walschot-Schoffel Kifwebe Mask, Democratic Republic of the Congo. Courtesy of Christie’s.

An art handler holds The Mendes-France Baule Mask, Ivory Coast at Christie’s, London, 2016. Photo by Ray Tang/Anadolu Agency/Getty Images.

This week, a 19th-century kifwebe mask from the Songye people in the Democratic Republic of the Congo will be the star lot of Christie’s spring sale of African art in New York. With angular facial features, striated designs, and a symbolic use of color, bifwebe (plural of kifwebe) masks are distinctive and rife with symbolism. Female masks are white, symbolizing light, the moon, and health, and male masks are black or red, representing smoke and danger. Before colonial times, the male bifwebe were linked with policing practices within the Songye community. During colonization, they took on a new role: preserving the historical powers of leaders within the community as Belgian forces—who colonized the Democratic Republic of the Congo from 1879 to 1960—came in and tried to disrupt them.

But you wouldn’t know much of this history if you read the feature Christie’s ran about the mask on its website. Instead, the auction house has chosen to lean into what it doesn’t know about the object, describing it as “intangible,” “other-worldly,” and even assigning supernatural powers to it—calling it “an opening to the fifth dimension.” Out of context, the descriptions provided by Christie’s—including the slick 47-second video it has paired the text with—come across as breathlessly effusive at best, infantilizing at worst.

Beyond mystical descriptors, Christie’s has devoted a significant portion of its marketing space to Jeanne Walschott, the Belgian collector who acquired the object in the early 20th century. The article also name-drops Western artists who have been inspired by Songye art, “from the Cubists to the Surrealists.” The result is a text that fluctuates between the impossibly foreign (the “other-worldly”) and the comfortably familiar (canonical Western artists). Lost in between are the real people who crafted these masks and used them in their daily lives—and who, despite the nostalgic, primordial language Christie’s uses to describe them, still very much exist.

Reckoning and restitution

Drawingby C Bottigella based on an account of Captain James Cook’s visit to Easter Island in 1774. Photo by Historica Graphica Collection/Heritage Images/Getty Images.

Recently, museums around the world have been grappling with complicated colonial legacies. Last November, per President Emmanuel Macron’s instruction, France released a comprehensive report on African objects. The report by French art historian Bénédicte Savoy and Senegalese economist Felwine Sarr rattled the museum world, particularly institutions with major African art collections like the British Museum and the Musée du Quai Branly. Some feared that the report would call for the restitution of tens of thousands of objects, stripping their collections bare. In October, the British Museum agreed to loan some of the Benin bronzes back to Nigeria, which has sought their return since receiving independence in 1960.

Most recently—and perhaps most poignantly for the kifwebe mask—the African Museum in Belgium reopened following a revamp that sought to include greater engagement with critical postcolonial ideas. The museum—which had not seen a significant reorganization since the era of Belgian dominance in the Congo—had long been criticized for imagery depicting Africans as savages, and even has eroticized African figures carved into its walls. Still, post-reboot, the Working Group of Experts on People of African Descent of the Office of the U.N. High Commissioner for Human Rights criticized the museum for not going far enough to own up to Belgian’s violent colonial history under Leopold II. “The Working Group notes the importance of removing all colonial propaganda and accurately presenting the atrocities of Belgium’s colonial past,” the group said in a statement.

Figure of an Edo King (Oba), 1620-1630. Unknown Artist Davis Museum

Belt mask, 18th century. Fowler Museum at UCLA

And yet, despite museums’ well-meaning (but not always successful) efforts to adjust their tones and practices to 21st-century standards, auction houses continue to present African artifacts through a Eurocentric lens, often glossing over an artifact’s original context while foregrounding its connections to Western artists and collectors. A Christie’s article about a rare Fang Ngil mask that the house sold last fall for €2.4 million ($2.7 million) invokes Braque, Derain, and Picasso among its admirers. The article goes on to make passing mention of colonialist policies that outlawed the tradition with which the mask is associated—noting that the ban led to a scarcity of such masks, making the object even more valuable.

Mystical language and Western-centric presentations are not limited to Christie’s. In texts accompanying the Sotheby’s auction of art from Africa, Oceania, and the Americas this week, a Songye shield is described as evoking “a striking sense of modernity to Western eyes.” In describing an Ancestor Statue from New Ireland (a part of what’s now Papua New Guinea) that sold for $4.7 million in 2016, the auction house first mentions André Breton’s reaction to it (“Good lord!” he reportedly said), and describes the statue as offering “a glimpse into the spiritual life of a primordial, autochthonous island culture, as it existed before the cataclysmic influence of Western contact.”

Andre Breton at home in France with his art collection, ca. 1960. Photo by Archive Photos/Getty Images.

And it’s not only African art that is subject to Eurocentric framing and mystical descriptions. An object from Easter Island featured in a March sale at Christie’s was advertised as “beguiling” and “baffling” experts, and was called a “silent witness to long-lost civilization.” Given the recent news about the governor of Easter Island tearfully begging for a massive Moai sculpture to be returned, Elizabeth Marlowe, professor of art history at Colgate University, was stunned. “There was this very public moment of Easter Islanders asserting their autonomy and voice,” she said. But in anticipation of a sale of a Moai kavakava figure, the Christie’s text was “full of language that makes it sound like Easter Island civilization has vanished,” Marlowe continued.

In response, Marlowe started a Twitter thread prompting others to take the same language Christie’s uses for non-European art and use it to describe European art.

“It has been a notable influence on prominent modernist Pacific Island artists,” one said of Michelangelo’s Creation of Adam (1511–12). Another jabbed at the tendency to generalize and link everything to fertility in a description of Goya’s Saturn Devouring His Sons (1820–23): “This haunting piece showcases the enduring myth of eating the son of a god—a preoccupation in many European cultures, probably related to fertility.”

In a description of Grant Wood’s iconic American Gothic (1930), one Twitter user wrote: “Two totems stand rigidly, possibly menacingly, in this American painting whose origins remain unknown.…The curious eyes…seem to stare into the viewers very soul.”

Decolonizing language

An elderly woman sits reading by a Moai sculpture from Easter Island on display at the British Museum, London, 1967. Photo by Romano Cagnoni/Hulton Archive/Getty Images.

The responses to Marlowe’s prompt are funny, but they get at a sad truth: Applied to familiar Western objects, the language seems condescending, alienating, reductive, and laughably simplistic. Such language is, “by many measures, a reaffirmation of the colonial worldview,” Marlowe said. In the case of the kifwebe mask and the ancestor figure from Easter Island, she criticized the “insistence on the idea that this is a mysterious culture, that there is no way to know what these objects are,” and the complete “refusal to engage with the descendents of the community.”

Marlowe’s point about language also extends to the visuals supporting auction house presentations of non-Western art. In a Sotheby’s feature about Aboriginal art, before any images of the actual objects or any images of the people associated with them, there is a photograph of a white missionary and collector in Aboriginal headgear, and someone who appears to be a Papuan individual blurred in the background.

A fragment from a temple assemblage, this 'image with fingers' has a surprising delicacy. Its key feature is the pronounced musculature of the male figures, apparently depictions of sky deities. It has been a notable influence on prominent modernist Pacific Island artists. pic.twitter.com/tkCPMfJtOV

— Anna Orridge (@orridge_anna) April 6, 2019

When objects from outside of the traditional, Western art-historical narrative are auctioned off, they tend to be presented in what Marlowe called a “pure dehistoricized form.” The result is often a narrative of the object within a Western framework and a marketing strategy that operates under a colonialist ethos. The story of the object is edited into a selective biography—often relying heavily on the collectors who acquired the object—with any messiness edited out. That “messiness” means, in many cases, the very people who created the object.

By rendering these objects distant and curious, they can seem ahistorical, apolitical—outside the progress of time, suspended in some imaginary, pure realm. They are written out of the historical narrative. A collector acquiring them may not feel they are engaging with the dire present conditions in the Congo, or the region’s violent colonial history, but some more distant, idyllic—if not entirely fictional—past.

Deified collectors

William Holden during Bill Holden’s African Art Auction, Feingarten Gallery, New York City, 1977. Photo by Ron Galella/WireImage.

There is a case to be made that these sorts of descriptions in auction houses’ marketing copy are harmless, and even necessary. And the houses haven’t entirely omitted context—there is a more extensive description in the Christie’s sale catalogue that includes some information about the kifwebe mask’s functions in Songye culture (though it still eschews any mention of colonialism).

Christopher Steiner, professor of African art at Connecticut College, notes that in the past decade or so, the significance of “star quality” provenance has increased—meaning the higher the pedigree of Western collectors who have owned an object and the more Western artists have been inspired by it, the better. This he attributes, in part, to the fact that “as more and more copies/replicas enter the markets, collectors have become less confident in their own ability to judge quality and authenticity,” he said. Instead, they rely on provenance as a guarantor of an object’s value.

“In the end, we are dealing with the empowerment of two ‘spirit beings,’” Steiner added. “The original African religious context and the near-godly status of some esteemed dealers and collectors in art-market history.”

In the case of the Christie’s kifwebe mask, it is not that this object was made for export or should be subject to restitution. “Our market covers works of art [that] were made and used within the culture for traditional purposes. We cannot comment on the value of items that we don’t auction, such as objects made specifically for export,” a Christie’s specialist said via email.

At the end of 2018, when museums and galleries were in the heat of a reckoning with their colonial pasts, Christie’s released a statement saying it remains deeply committed to researching the provenance of consignments and will only auction objects it feels comfortable selling. The auction house undertakes a “comprehensive pre-sale due diligence process,” the Christie’s specialist said. “In cases where potentially problematic provenance is found, Christie’s will not take on the consignment.”

When asked for additional information about the kifwebe mask’s origins, the Christie’s specialist said that a Songye artist made it in the 19th century and that Walschott purchased the mask before 1933, and also described her status as a collector: She was “one of the first and few women to become a dealer and collector of African art,” the specialist said. “She had an exceptionally long career, spanning over nearly 50 years and opened her first gallery in 1923.”

Still, Marlowe offered an additional criterion beyond airtight provenance for such artifacts: “The ethical collector should want to see some indicator someone in the country of origin has given his blessing to this sale.”

Selling “mystery”

There are layers of truth to auction houses’ characterizations of these objects. In the case of the kifwebe mask at Christie’s, there is, indeed, mystery. Each and every minute detail of the mask has an esoteric meaning linked to a mnemonic phrase or metaphor. To join the “masking society” that wore bifwebe, one would need to learn a secret code as a kind of membership identification. Wearing the mask and an elaborate costume it would have been paired with, the Songye person would achieve a different state of being, becoming a ngulungu.

But the mask’s ceremonial purpose was not not so much about “entering a fifth dimension,” as Christie’s put it. In the Songye ritual, “the invisible is as real as the visible; there is no transition, the invisible is simply made apparent,” writes Dunja Hersak, a scholar of Congo masks.

Songye Mask, ca. 1930. Unknown Songye Didier Claes

Songye Mask, Early 20th Century. Unknown Songye Bill Lowe Gallery

In response to questions about its descriptions of African and other non-European objects, Christie’s said there were no significant differences between descriptions of African art and art in other departments. “Christie’s Specialist Departments cover a wide range of art from Antiquities, to American, Asian, Luxury, Old Masters, Post-War & Contemporary to name a few,” the specialist wrote. “The language used to define the art in each of these categories is descriptive, not more or less descriptive than the language used in African art.”

But this response may miss the distinction between the amount of description and the nature of that description, as Marlowe’s Twitter thread irreverently demonstrated. The sense of mystery elicited in Christie’s language is not so much tied to the details of the cultural practices, which genuinely contained mystery, but more generally applied to the entire Songye people and their artifacts.

Such promotional language in auction house catalogues and websites risks romanticizing lack of knowledge, erasing the living people who could more fully contextualize the object, and the difficult reasons why we might not know more about it.

Perhaps this is what sells. Perhaps an aura of mystery appeals to a majority of collectors. These are potentially valid justifications from a commercial standpoint, but that doesn’t have to be the only consideration. As Marlowe put it: “It’s very possible to educate people to want something different.”

from Artsy News

[hyhpopculture]

Art Inspired By Ecological Devastation

Observation: For his multiyear project titled “The Prophecy,” Belgian-Beninese photographer Fabrice Monteiro confronts global issues of ecological devastation. The striking images in the project combine haute couture, spiritual figures, and staged scenes of pollution and decimation.

Made in collaboration with Senegalese fashion designer Doulsy and set primarily in Africa, the series took Monteiro two years to complete. Models representing the children of the Earth Goddess Gaia (known as djinn) are dressed in costumes fashioned to look like the environmental ruin and refuse that surrounds them. Consumer debris like fishing nets and plastic bags form elaborate gowns, headdresses, and garbage accessories that anchor the djinn to the trashed landscapes

 - JS

[morrisbrokaw]

LACOSTE is entering a new cycle and is unveiling #crocodileinside

LACOSTE is entering a new cycle and today is unveiling #crocodileinside.

Freedom of mind and movement, creativity, sportsmanship and tenacity, these values, initiated by René Lacoste, are also those of today’s most inspiring personalities. To embody this energy, the Lacoste polo has become the brand ambassador: an iconic product appropriated by each of our talents with ease and modernity.

Combining elegance of style and spirit, they have the #crocodileinside

Chloé Sevigny, American actress.

Coming from a conservative background, Chloé escaped to New York at the age of 18 and soon began a career as model and then actress. Thanks to her assured acting, she was later nominated for an Oscar and became an icon of the world-famous independent cinema

Alton Mason, American model.

Before becoming a world-famous model, Alton studied dancing and worked hard to achieve his ambitions, and was nominated for the BET Awards. Today he appears in fashion shows all over the world and poses for the camera of the greatest photographers.

Tenacious, creative and free minded, today’s icons have all become role models thanks to their talent. They have been photographed here by Oliver Hadlee Pearch, an English photographer who has the gift of showing the nature of each of the personalities he shoots.

 Moha La Squale, French rapper.

Despite a difficult childhood, Moha, the free thinker, was spotted by the Belgian film director Barney Frydman, who advised him to enrol at the Cours Florent.  It was on the rap scene that he became well-known and was able to free himself. His determination makes him a real crocodile

Rod Paradot, French actor.

Coming from a humble background, Rod did not originally intend to go into the film industry. Yet it was his first film that won him fame and a Cesar for the Most Promising Actor at the age of 19.

Coming from all over the world, with a look or a pose, they all express their own personality and special relationship with the LACOSTE polo. They combine elegance of style and spirit.

Serena Motola, Japanese actress and model.

At only 19, Serena Motola started modelling in her native Japan. Rapidly scouted, she appeared in several series for fashion magazines, became the subject of a photo exhibition and began a career in films in 2018.

 Asap Nast, American rapper.

Asap Nast was born in Harlem (New York) and from an early age knew that he wanted a career in music. This LACOSTE fan, a crocodile under his skin, founded Asap Mob and quickly made himself known and acknowledged by his peers.

Noah Becker, German DJ.

Son of the legendary tennis player Boris Becker, Noah quickly became interested in music and fashion. He persisted in his research on electronic sounds and soon made a name for himself as a DJ

Salif Gueye, French-Senegalese dancer.

Salif gained his fame by performing in the streets of Paris. The social networks made him a star. His hard work has led him to dance all over the world.

Created in 1933 by René Lacoste, the polo soon became an essential piece in a chic and casual wardrobe worldwide.  In 2019 it has found new energy through these young talents, and reaffirms its position as a world-famous symbol.

Ebonee Davis, American model and activist.

At just 24, Ebonee is an acknowledged model and activist. In particular she campaigns against the exclusion from opportunities given to women of colour and has taken part in a TED Talk. Her determination and her freedom of thought will not stop her before a real change has taken place within the fashion industry.

 Sang Woo, Korean artist.

Sang has always preferred listening to his instinct and creative spirit rather than the rules given to him when he was growing up. He had to stand up to a high level of pressure within his family and has become a well-known multidisciplinary artist.

  Jamie Bochert, American model.

  Jamie was first spotted at the beginning of 2000 and soon became the figurehead of the androgynous style, now known as gender fluid. Throughout her career, she has been the muse of a number of designers and still continues to be a trendsetter.

    Clara 3000, French DJ.

  Before she was even 20, Clara Deshayes, alias Clara 3000, drew the attention of Pedro Winter. Within a few years, she made a name for herself on the electronic music scene and became a Parisian icon due both to her energetic compositions and various activities as an actress and ambassador of small ultra-trendy brands.

  Novak Djokovic, Serbian tennis player

Considered as one of the greatest players in the history of tennis, Novak Djokovic shares the same values of Fair-Play, tenacity and freedom of movement as the founder of the company, René Lacoste.

  These new images will be presented in the Lacoste shops worldwide and on Lacoste.com from 16 April 2019.

LACOSTE is entering a new cycle and is unveiling #crocodileinside published first on https://workbootsandshoes.tumblr.com/

[african-international-magazine]

Rediscovering Senegal's Photographic Heritage

A captivating narrative of Senegal's rich photographic legacy emerges from the pages of a new book authored by Guilia Paoletti, an assistant professor at the University of Virginia's Department of Art. In a revelatory exploration, Paoletti delves into the vibrant tapestry of Senegalese photography, unearthing a treasure trove of previously unseen images that illuminate the country's historic modernity and cultural richness.

At the heart of Paoletti's narrative lies a visual journey spanning centuries, capturing the essence of Senegal's socio-cultural evolution through the lens of pioneering photographers. From the earliest surviving daguerreotypes dating back to the 1800s to the dawn of modern studio photography, the book offers a window into a bygone era characterized by elegance, sophistication, and artistic expression.

Speaking with CNN, Paoletti challenges conventional narratives surrounding the history of photography, debunking the notion of it being solely a Western invention. Instead, she highlights Senegal's pivotal role in shaping the medium's trajectory, with indigenous photographers asserting agency and creativity in capturing the essence of their society.

Central to Paoletti's narrative are the remarkable stories of Senegalese women, such as the signare – a class of Black or mixed-race women who wielded significant influence and commissioned portraits as a means of self-expression. Through their patronage, these women defied traditional gender norms and asserted their social status, leaving an indelible mark on Senegal's photographic heritage.

However, alongside tales of empowerment and agency, Paoletti also uncovers instances of colonial prejudice and erasure. The encounter between Belgian explorer Adolphe Burdo and the "King of Dakar" serves as a poignant reminder of the clash between modernity and colonial hegemony, with European perceptions often overshadowing African agency.

Despite the challenges of colonialism and cultural hegemony, Senegal's photographic tradition endures as a testament to resilience and creativity. From the decorative collages known as "xoymets" that adorned wedding ceremonies to the proliferation of studio photography in the 20th century, Paoletti paints a vivid portrait of a society deeply intertwined with the art of image-making.

As Senegal's photographic legacy finds renewed recognition and appreciation, Paoletti's book serves as a beacon of cultural revival, offering a fresh perspective on the country's rich heritage. With each image and anecdote, it invites readers to embark on a journey of discovery, celebrating the ingenuity and creativity of Senegal's past and present photographers.

In shedding light on Senegal's photographic heritage, Paoletti's work transcends the confines of academia, offering a poignant reflection on the power of imagery to shape narratives and reclaim lost histories. Through her meticulous research and storytelling prowess, she invites us to reimagine Senegal's past and embrace its photographic legacy as a source of inspiration and cultural pride. (Some excerpts from CNN)

[morrisbrokaw]

LACOSTE is entering a new cycle and is unveiling #crocodileinside

LACOSTE is entering a new cycle and today is unveiling #crocodileinside.

Freedom of mind and movement, creativity, sportsmanship and tenacity, these values, initiated by René Lacoste, are also those of today’s most inspiring personalities. To embody this energy, the Lacoste polo has become the brand ambassador: an iconic product appropriated by each of our talents with ease and modernity.

Combining elegance of style and spirit, they have the #crocodileinside

Chloé Sevigny, American actress.

Coming from a conservative background, Chloé escaped to New York at the age of 18 and soon began a career as model and then actress. Thanks to her assured acting, she was later nominated for an Oscar and became an icon of the world-famous independent cinema

Alton Mason, American model.

Before becoming a world-famous model, Alton studied dancing and worked hard to achieve his ambitions, and was nominated for the BET Awards. Today he appears in fashion shows all over the world and poses for the camera of the greatest photographers.

Tenacious, creative and free minded, today’s icons have all become role models thanks to their talent. They have been photographed here by Oliver Hadlee Pearch, an English photographer who has the gift of showing the nature of each of the personalities he shoots.

 Moha La Squale, French rapper.

Despite a difficult childhood, Moha, the free thinker, was spotted by the Belgian film director Barney Frydman, who advised him to enrol at the Cours Florent.  It was on the rap scene that he became well-known and was able to free himself. His determination makes him a real crocodile

Rod Paradot, French actor.

Coming from a humble background, Rod did not originally intend to go into the film industry. Yet it was his first film that won him fame and a Cesar for the Most Promising Actor at the age of 19.

Coming from all over the world, with a look or a pose, they all express their own personality and special relationship with the LACOSTE polo. They combine elegance of style and spirit.

Serena Motola, Japanese actress and model.

At only 19, Serena Motola started modelling in her native Japan. Rapidly scouted, she appeared in several series for fashion magazines, became the subject of a photo exhibition and began a career in films in 2018.

 Asap Nast, American rapper.

Asap Nast was born in Harlem (New York) and from an early age knew that he wanted a career in music. This LACOSTE fan, a crocodile under his skin, founded Asap Mob and quickly made himself known and acknowledged by his peers.

Noah Becker, German DJ.

Son of the legendary tennis player Boris Becker, Noah quickly became interested in music and fashion. He persisted in his research on electronic sounds and soon made a name for himself as a DJ

Salif Gueye, French-Senegalese dancer.

Salif gained his fame by performing in the streets of Paris. The social networks made him a star. His hard work has led him to dance all over the world.

Created in 1933 by René Lacoste, the polo soon became an essential piece in a chic and casual wardrobe worldwide.  In 2019 it has found new energy through these young talents, and reaffirms its position as a world-famous symbol.

Ebonee Davis, American model and activist.

At just 24, Ebonee is an acknowledged model and activist. In particular she campaigns against the exclusion from opportunities given to women of colour and has taken part in a TED Talk. Her determination and her freedom of thought will not stop her before a real change has taken place within the fashion industry.

 Sang Woo, Korean artist.

Sang has always preferred listening to his instinct and creative spirit rather than the rules given to him when he was growing up. He had to stand up to a high level of pressure within his family and has become a well-known multidisciplinary artist.

  Jamie Bochert, American model.

  Jamie was first spotted at the beginning of 2000 and soon became the figurehead of the androgynous style, now known as gender fluid. Throughout her career, she has been the muse of a number of designers and still continues to be a trendsetter.

    Clara 3000, French DJ.

  Before she was even 20, Clara Deshayes, alias Clara 3000, drew the attention of Pedro Winter. Within a few years, she made a name for herself on the electronic music scene and became a Parisian icon due both to her energetic compositions and various activities as an actress and ambassador of small ultra-trendy brands.

  Novak Djokovic, Serbian tennis player

Considered as one of the greatest players in the history of tennis, Novak Djokovic shares the same values of Fair-Play, tenacity and freedom of movement as the founder of the company, René Lacoste.

  These new images will be presented in the Lacoste shops worldwide and on Lacoste.com from 16 April 2019.

LACOSTE is entering a new cycle and is unveiling #crocodileinside published first on https://workbootsandshoes.tumblr.com/