{"id":1106,"date":"2022-07-14T10:09:29","date_gmt":"2022-07-14T08:09:29","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=1106"},"modified":"2022-07-14T10:09:44","modified_gmt":"2022-07-14T08:09:44","slug":"abdo-shanan-dry","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/exhibitions\/abdo-shanan-dry\/","title":{"rendered":"Abdo Shanan. Dry"},"content":{"rendered":"\n
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2022 | Centre de la photographie Gen\u00e8ve<\/strong><\/p>\n\n\n\n

The Centre de la photographie Gen\u00e8ve is pleased to present the first solo exhibition of Abdo Shanan, a Sudanese-Algerian photographer based in Algiers. Primarily focused on one of his long-term projects, Dry<\/em>, the show explores questions of identity and representation closely related to his personal experience.<\/p>\n\n\n\n

In 2009, after spending a major part of his childhood and adolescent years in Libya, Abdo Shanan returned to Algeria, where he began to develop his interest in photography. It grew progressively and first materialised in 2012 with an internship at Magnum in Paris. He thinks of his work as a photographic exploration, anchored in a deep and urgent need to capture the reality of his generation in Algeria. Abdo Shanan\u2019s work offers a narrative counterpoint to a visual history predominantly written by the colonial powers, and to news images that reduce Algeria to a series of crises. Photography is therefore for him a tool for self-affirmation, which translates the need to make one\u2019s voice heard and the urgency of asserting agency over one\u2019s own story.<\/p>\n\n\n\n

Abdo Shanan\u2019s work is rooted in the experience of migration and exile, whether it is the experience of the artist himself or that of the people he meets, photographs and whose testimonies he keeps, in Africa as in Europe. In the transition from the 19th to the 20th century, the thinker W.E.B. DuBois already underlined the identity conflict of the African-American self, torn between the norms imposed by white and dominant thought and a desire for emancipation linked to a form of exile. Traversed by a similar experience, Abdo Shanan constructs a plural and complex self, which evolves in a network of people, experiences, places, and questions imposed limits. He thus intends to offer collective and individual narratives of the experience of exile and the protean identities it shapes, bypassing the stereotypes commonly found in the media and visual culture that convey dominant and normative discourses.<\/p>\n\n\n\n

The exhibition presents a dialogue between photographic images taken from a corpus of about one hundred images, and written texts, testimonies of the photographed people, personal reflections of the artist and extracts from significant literature. It will retrace, in a form that is not chronological or documentary, but based on an immersive experience for the visitor, the important moments of this search for new forms of expression of plural, complex and constantly evolving identities. Thus, Arnold B\u00f6cklin\u2019s Island of the Dead<\/em>, a famous 19th century painting that has been widely disseminated in many printed media, is included in the exhibition, testifying to the multiple influences and inspirations that nourish Shanan. With this exhibition, the Centre de la photographie wishes, through the strong and singular point of view of the artist, to contribute to sketch out possible answers to certain major current identity questions. It also intends to give subtle and relevant visibility to issues that are often invisible or, on the contrary, approached in a simplistic or spectacular manner.<\/p>\n\n\n\n

Le Centre de la photographie Gen\u00e8ve pr\u00e9sente la premi\u00e8re exposition monographique d\u2019Abdo Shanan, photographe soudano-alg\u00e9rien bas\u00e9 \u00e0 Alger. Elle portera principalement sur l\u2019un de ses projets au long cours, Dry, explorant des questions identitaires et de repr\u00e9sentation intimement li\u00e9es \u00e0 son exp\u00e9rience personnelle.<\/p>\n\n\n\n

Revenu s\u2019\u00e9tablir en Alg\u00e9rie en 2009 apr\u00e8s avoir pass\u00e9 une majeure partie de son enfance et adolescence en Lybie, Abdo Shanan a progressivement d\u00e9velopp\u00e9 un int\u00e9r\u00eat croissant pour la photographie, qui se concr\u00e9tise d\u2019abord en 2012 avec un stage chez Magnum \u00e0 Paris. Son travail, pens\u00e9 comme une exploration photographique, est issu d\u2019un d\u00e9sir profond et urgent de saisir la r\u00e9alit\u00e9 de sa g\u00e9n\u00e9ration en Alg\u00e9rie. Il entend ainsi offrir un contrepoint narratif \u00e0 une histoire visuelle \u00e9crite avant tout par les puissances coloniales, et \u00e0 des images d\u2019actualit\u00e9 r\u00e9duisant l\u2019Alg\u00e9rie \u00e0 une s\u00e9rie de crises. La photographie repr\u00e9sente un outil d\u2019affirmation de soi, qui traduit la n\u00e9cessit\u00e9 de faire entendre sa voix et l\u2019urgence de ma\u00eetriser son propre r\u00e9cit.<\/p>\n\n\n\n

Le travail d\u2019Abdo Shanan s\u2019ancre dans l\u2019exp\u00e9rience de la migration et de l\u2019exil, qu\u2019il s\u2019agisse du v\u00e9cu de l\u2019artiste lui-m\u00eame ou de celui des personnes qu\u2019il rencontre, photographie et dont il conserve les t\u00e9moignages, en Afrique comme en Europe. Au passage du 19e au 20e si\u00e8cle, le penseur W.E.B. DuBois, soulignait d\u00e9j\u00e0 le conflit identitaire du soi Africain- Am\u00e9ricain, tiraill\u00e9 entre les normes que la pens\u00e9e blanche et dominante impose et une volont\u00e9 d\u2019\u00e9mancipation li\u00e9e \u00e0 une forme d\u2019exil. Travers\u00e9 par une exp\u00e9rience similaire, Abdo Shanan construit un soi pluriel et complexe, qui \u00e9volue dans un r\u00e9seau de personnes, d\u2019exp\u00e9riences, de lieux, et questionne des limites impos\u00e9es. Il entend ainsi offrir des r\u00e9cits collectifs et individuels de l\u2019exp\u00e9rience de l\u2019exil et des identit\u00e9s prot\u00e9iformes qu\u2019il fa\u00e7onne, contournant les st\u00e9r\u00e9otypes commun\u00e9ment pr\u00e9sents dans les m\u00e9dias et la culture visuelle qui v\u00e9hiculent les discours dominants et normatifs.<\/p>\n\n\n\n

L\u2019exposition pr\u00e9sente un dialogue entre les images photographiques provenant d\u2019un corpus d\u2019une centaine d\u2019images, et des textes \u00e9crits , t\u00e9moignages des personnes photographi\u00e9es, r\u00e9flexions personnelles de l\u2019artiste et extraits de textes marquants. Elle retracera, dans une forme non chronologique ou documentaire, mais ax\u00e9e sur une exp\u00e9rience immersive du visiteur, les moments importants de cette recherche de nouvelles formes d\u2019expression d\u2019identit\u00e9s plurielles, complexes et en constante \u00e9volution. Ainsi, L\u2019\u00cele des morts <\/em>d\u2019Arnold B\u00f6cklin, peinture c\u00e9l\u00e8bre du 19\u00e8me si\u00e8cle largement diffus\u00e9e sur de nombreux supports imprim\u00e9s, s\u2019immisce dans l\u2019exposition, t\u00e9moignant des influences et des inspirations multiples qui nourrissent Shanan. Avec cette exposition, le CPG souhaite, au travers du point de vue fort et singulier de l\u2019artiste, contribuer \u00e0 esquisser de possibles r\u00e9ponses \u00e0 certaines questions identitaires actuelles majeures. Il entend \u00e9galement donner une visibilit\u00e9 subtile et pertinente \u00e0 des probl\u00e9matiques souvent invisibles, ou au contraire abord\u00e9es de mani\u00e8re simpliste ou spectaculaire.<\/p>\n\n\n\n

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Exhibition views by L\u00e9onard Rossi<\/p>\n","protected":false},"excerpt":{"rendered":"

2022 | Centre de la photographie Gen\u00e8ve The Centre de la photographie Gen\u00e8ve is pleased to present the first solo exhibition of Abdo Shanan, a Sudanese-Algerian photographer based in Algiers. Primarily focused on one of his long-term projects, Dry, the show explores questions of identity and representation closely related to his personal experience. In 2009, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":182,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1106","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=1106"}],"version-history":[{"count":1,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1106\/revisions"}],"predecessor-version":[{"id":1121,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1106\/revisions\/1121"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/182"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=1106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}