-- Advertisement --

                           

-- Advertisement --

Canadian Art

See It

Sammy Baloji: The Light Continent

Contact Gallery, Toronto Jan 14 to Mar 14 2010
Sammy Baloji  <I> Vues de Likasi, Avenue de la Mine (1)</I> 2005  Detail  Courtesy the artist and Axis Gallery NYC
Sammy Baloji Vues de Likasi, Avenue de la Mine (1) 2005 Detail Courtesy the artist and Axis Gallery NYC

Sammy Baloji Vues de Likasi, Avenue de la Mine (1) 2005 Detail Courtesy the artist and Axis Gallery NYC




We forget how big Africa is. The continental US, from Puget Sound to the Florida Keys, would tuck into the upper left-hand bulge of the continent that is the Sahara. Nearly 1 billion people live in Africa, 300,000 of them in Likasi, the city that is the subject and site for "Vues de Likasi," an intriguing photo installation by Congolese artist Sammy Baloji. Located in the Democratic Republic of Congo, close to the border with Zambia in mineral-rich Katanga province, Likasi wears its colonial past on the surface of its buildings. In his installation, on view at a new space operated by the Contact photography festival, Baloji has made a walking tour of the city centre and pieced together a running image of the street facades. It’s a modest place; the Belgians called it Jadotville and built a city hall there in 1900. It’s still the city hall but its sign now reads “Likasi.” There’s a cinema too, called Bagatelle. It’s next door to the Blue Note Dancing Club.

Some of the grander buildings are now fallen in and abandoned; the sidewalks and streets are full of holes too. There are mostly men on the streets, except near stores that sell things for children like knapsacks and running shoes; then, there are women. Baloji took his photographs separately, over time, but you wouldn’t know it. Most of the scenes are under a high, blue-blanched sky with passing bits of cumulus cloud. Only the light changes, shifting shadows and warming into the golden glow of a late afternoon. In the gallery, there’s a soundtrack of early morning sounds, then various bits of local music that help to generate this sense of time passing. Together they make a wonderful portrait of time and place that seems more than a documentary. It is transference of a love of place, the kind of story that never makes it into the reports we usually hear of Africa. It’s a lovely, impressive, eye-opening show. (310-80 Spadina Ave, Toronto ON)

This article was first published online on February 4, 2010.

RELATED STORIES

  • CONTACT 2009: Still Revolutionizing Photography

    The theme of this year’s CONTACT photography festival, “Still Revolution,” functions as a double entendre: not only does it conjure photography’s capacity to arrest a revolutionary moment on paper, but it also points to the medium’s ongoing technical evolution.

  • CONTACT Wrap-up: Rebounding, and Taking it to the Streets

    As Toronto's CONTACT Photography Festival wraps up, Canadian Art Weekly takes a step back to examine the fest’s overall highlights.

  • The CONTACT Festival: Shoot to Thrill

    With over 200 exhibitions, installations and events on the CONTACT Toronto Photography Festival roster, it’s hard to know what to see first—fortunately, the fest’s primary exhibition, “From the Epic to the Everyday,” makes a good starter.

 

FOUNDATION NEWS

More Foundation news

ONLINE

  • On Newsstands & Online Now: Canadian Art Fall 2010

    Canadian Art’s biggest issue ever hits newsstands across the country this week with Ed Burtynsky’s Gulf oil spill photos, Lisa Moore’s look at fellow Newfoundlander Will Gill and more. Online, select features and bonus portfolios are up for the viewing.

  • TIFF 2010: A New Museum for Movies

    The Toronto International Film Festival’s red-carpet cachet has perennial pop appeal. But this year’s fest will also excite hardcore cinephiles and art fans with the opening of an impressive new building and exhibition that supplements its other avant-garde programs.

  • Melanie Gilligan: Credit Reports

    Recently, Banff hosted the North American premiere of a film by Toronto-born, UK-based artist Melanie Gilligan. As Johan Lundh reports, Gilligan’s views of the financial crisis (supported by Artangel and other key institutions) are ironically rich and robust.

  • Angela Grauerholz: The Image Life

    Based in Montreal since the late 1970s, German-born artist Angela Grauerholz has forged one of the most impressive photographic careers in the Canadian art world. Now, a retrospective at the National Gallery presents rich meditative opportunities for viewers.

  • Bodies in Trouble & Time3: Performing the Capital

    In Ottawa, it’s usually political performance that’s the focus of the day. But as Sky Goodden writes of her recent trip to the capital, the city’s artist-run centres have also been hosting some excellent events on performance art and its documentation.

More Online

- Advertisements -



- Advertisements -
Report a problem