Living Montage: Bouba Touré’s Photographic and Political Practice

Research output: Contribution to journalJournal articleResearch

Standard

Living Montage : Bouba Touré’s Photographic and Political Practice. / Sandström, Frida.

In: Afterall, 15.09.2020.

Research output: Contribution to journalJournal articleResearch

Harvard

Sandström, F 2020, 'Living Montage: Bouba Touré’s Photographic and Political Practice', Afterall.

APA

Sandström, F. (2020). Living Montage: Bouba Touré’s Photographic and Political Practice. Afterall.

Vancouver

Sandström F. Living Montage: Bouba Touré’s Photographic and Political Practice. Afterall. 2020 Sep 15.

Author

Sandström, Frida. / Living Montage : Bouba Touré’s Photographic and Political Practice. In: Afterall. 2020.

Bibtex

@article{e8f71bed64d84e4d8249d5f8a6655164,
title = "Living Montage: Bouba Tour{\'e}’s Photographic and Political Practice",
abstract = "‘I want to live in time. And even after I’m gone, I want time to count very much. There you go, I don’t want to die. To die is to be forgotten’, photographer, filmmaker, farmer and activist Bouba Tour{\'e} states in his film Bouba Tour{\'e}, 58 Rue Trousseau, 7511 Paris, France (2008), a title borrowed from Tour{\'e}’s former address in Paris.1 There he observes the interior walls of his apartment, covered with posters, pamphlets and photographs from the twentieth and early twenty-first century. Giving each document equal attention, he comments and contextualises their content – from the Burkinab{\'e} Marxist-Leninist Thomas Isidore No{\"e}l Sankara, former president of Burkina Faso until his murdering in 1987, to Tour{\'e}’s own mother. Everyone pictured belongs to a community that Tour{\'e} has spent his life nurturing. And while Tour{\'e} waits for the alarm clock to ‘ring’, to awaken ‘the African consciousness’, as he calls it, we see a large number of clocks next to the documents on his walls: ‘because time matters a lot’.2",
keywords = "Faculty of Humanities, Montage, Photography, Colonialism, Aesthetics, Biographic writing, Labour, Industrialism",
author = "Frida Sandstr{\"o}m",
year = "2020",
month = "9",
day = "15",
language = "English",
journal = "Afterall",
issn = "1465-4253",
publisher = "Saint Martins College",

}

RIS

TY - JOUR

T1 - Living Montage

T2 - Bouba Touré’s Photographic and Political Practice

AU - Sandström, Frida

PY - 2020/9/15

Y1 - 2020/9/15

N2 - ‘I want to live in time. And even after I’m gone, I want time to count very much. There you go, I don’t want to die. To die is to be forgotten’, photographer, filmmaker, farmer and activist Bouba Touré states in his film Bouba Touré, 58 Rue Trousseau, 7511 Paris, France (2008), a title borrowed from Touré’s former address in Paris.1 There he observes the interior walls of his apartment, covered with posters, pamphlets and photographs from the twentieth and early twenty-first century. Giving each document equal attention, he comments and contextualises their content – from the Burkinabé Marxist-Leninist Thomas Isidore Noël Sankara, former president of Burkina Faso until his murdering in 1987, to Touré’s own mother. Everyone pictured belongs to a community that Touré has spent his life nurturing. And while Touré waits for the alarm clock to ‘ring’, to awaken ‘the African consciousness’, as he calls it, we see a large number of clocks next to the documents on his walls: ‘because time matters a lot’.2

AB - ‘I want to live in time. And even after I’m gone, I want time to count very much. There you go, I don’t want to die. To die is to be forgotten’, photographer, filmmaker, farmer and activist Bouba Touré states in his film Bouba Touré, 58 Rue Trousseau, 7511 Paris, France (2008), a title borrowed from Touré’s former address in Paris.1 There he observes the interior walls of his apartment, covered with posters, pamphlets and photographs from the twentieth and early twenty-first century. Giving each document equal attention, he comments and contextualises their content – from the Burkinabé Marxist-Leninist Thomas Isidore Noël Sankara, former president of Burkina Faso until his murdering in 1987, to Touré’s own mother. Everyone pictured belongs to a community that Touré has spent his life nurturing. And while Touré waits for the alarm clock to ‘ring’, to awaken ‘the African consciousness’, as he calls it, we see a large number of clocks next to the documents on his walls: ‘because time matters a lot’.2

KW - Faculty of Humanities

KW - Montage

KW - Photography

KW - Colonialism

KW - Aesthetics

KW - Biographic writing

KW - Labour

KW - Industrialism

M3 - Journal article

JO - Afterall

JF - Afterall

SN - 1465-4253

ER -

ID: 241883020