Tag Archives: Africa

DAKAR: a photo-essay by Helmut Tezak

Amnesty International has warned us earlier this week that populist politicians are busy creating a hostile climate for refugees and migrants. “Toxic political agendas are dehumanizing and scapegoating entire groups of people.” Of course, most politicians still pay attention not to cross any red line of overt racism or hate speech but their underlying messages (even from those in government positions) are easily decoded as well: ” Migrants (especially Muslims and Africans) have different norms which they have to throw away if they want to become ‘one of us’. There are too many migrants around anyway. And we will shoot from the hip at those who tell you something else.”






© Helmut Tezak

With their persistent tweets and declarations they are all the time trying to infuse our mindset and to drive a wedge between “us” and “them”.

In the light of all this, I have taken an older photobook from the shelves that is investigating how “our” perceptions of “them” are built and how we live by our anticipations. It’s one of these rare pearls that would have been forgotten by the wheels of time, were it not saved from the yellow bag by one of my favourite antiquarian booksellers in town.



© Helmut Tezak

DAKAR by Mr. Helmut Tezak (born in 1948) was published in 1983 with Camera Austria and has the ambition to shed a light “on the ordinary day-to-day life of the inhabitants of an African city.”  And, good to know, the African city, does not refer here solely to the Senegalese capital or to some remote spots on the African countryside. It also refers to the African quarters of Paris and Brussels. It refers to all the different realities that build the contemporary African city!


© Helmut Tezak

Mr Tezak has dedicated DAKAR to the Senegalese ethnologist and film director, Mrs Safi Faye who is still admired today for her poetic and realistic reports from Africa in the 70’ies and 80’ies. This dedication sets the tone. We don’t have to look for evidence of an aestheticizing or idiosyncratic style. The work is old-school humanist (street)photography.





© Helmut Tezak

Following the photographer’s footsteps we can have a rest from the heath in a dusty village, we can have a funny chat with a class of children under a tree or we can connect to the energy in metropolitan Belleville (Paris). But we can also take a breath and a pensive look at the Atlantic Ocean. The images are gritty and the realities they depict are tough.



© Helmut Tezak

But, through the eyes of Mr. Tezak life is never miserable. It is as if the photographer is trying to show that comfort can be provided as well by the warm and natural contact people maintain with each other.  It’s very much about maintaining the humanist standards and not accepting the spiteful, negative and divisive ones of populists or hidden populists! Mr. Tezak’s final words to the book, where he is looking back on the intense two years period that he needed to produce it, are a reminder: “Ladies and Gentlemen, it’s fucking great to be alive!

Mr. Tezak’s photographs are unmistakably also meant to illustrate well-defined and highly theoretical reflections. He describes his book as a “photo-essay about masks, roles, behaviour and anticipation“. There is an “explanatory afterword” where he is presenting the reader with a number of concepts from domains like semiotics, sociology and culture studies. Roland Barthes’ famous texts on contemporary mythologies are mentioned (among other authors), implying that the book is meant to reflect on the myths that we – white Westerners- are imposing through the channels of publicity, television and press on the inhabitants of the African city.



© Helmut Tezak

And on page 26, in the middle of the sequence of images, we find the following quote by Paul Parin: “The attribution of roles to others is one of the most important, perhaps the most important, instrument by which relationships in society are operating; by which relationships are maintained or changed; by which people are manipulated.”

DSCF2517 DSCF2518


© Helmut Tezak

Throughout the book we also find a story line with enigmatic interactions between parents and their children. It takes the scope on a higher level. DAKAR is also a reflection about interactions between the strong and the weak. It’s about learning to listen to the messages of the weak as well.


© Helmut Tezak

And then there is this spread with Accatone and Antigone. Is Mr Tezak suggesting that one has to be born with the genes of these two gorgeous European rebels in order to really resist the agendas of the strong and powerful? In order to engage in a genuine and regular interaction with the weak ones (including the new migrants who came to live around the corner)?



© Helmut Tezak

The other day, I found a curious quote tagged on a P.O. Box in my street “the ruling norms are too narrow to imagine our realities“.  And when I am looking now at the photographs Tezak has made in Brussels, I remember again, why I adore this place which the US President elegantly described as a hell hole. There are so many different realities. It’s still so unpolished. The ruling norms are questioned all the time. The city is a constant invitation to defy the political agenda! I am not Accatone but I am happy to have read this book. And, it’s f*cking great to be alive!

Thank you very much for your photo-essay, Mr. Tezak!
































Ailleurs by Michel Beine

Michel Beine‘s little photobook “Ailleurs” reappeared last year on the bookshopshelves after it was published for the first time in 2005. It contains 50 black and white photographs that were made during several wandering journeys in Morocco (2000-2005). The photograhs however constitute one single story of Beine’s memories and experiences on the road. With this story, he created, in the true spirit of Arthur Rimbaud, a poetic and sensuous construction of a poor and – for us – exotic country.


© Michel Beine

Beine does not force us to take over his vision. Indeed, for the reader, it’s an open and free invitation to Northern Africa. But be careful, it is also a dangerous invitation to the addictive state of mind of someone who is travelling to a place which is called “ailleurs” (elsewhere).

Beine’s travelogue style reminds us of Bernard Plossu‘s work but Beine does not flirt with the poetic vagueness which became Plossu’s trademark. Beine is also not so much a prolefic and fast photographer like Plossu who shares with us the speed of his life and impressions.


© Michel Beine

Rather, he invites us to take our time to enjoy with him the reflexions of the sun in a hotel lounge (Tanger and Casablanca), the remembrance of a boy’s phantasy emanating from a forgotten toy train, the beautiful fond of the lettres of a petrol pump, the luxury of a dusty hotel room with a view on the vivid port of Inezgane.

pompstation beine

© Michel Beine


© Michel Beine

While focussing on the state of decay and poverty in which post-colonial Morocco has to find itself nowadays, Beine also recalls the style of the American road photographers who documented the gloomy, empoverished side of the USA. We often see traces of modernity that do not offer any longer their initial promise of a better future.


© Michel Beine

Ailleurs is published by ARP2 Editions and designed by Dojo Design. So, it is created along an axis in the South of Brussels set up by Gilbert Fastenaekens and Joël Van Audenhaege that also leads up to Contretype (the late Jean-Louis Godefroid) and to Charleroi’s photography museum (Marc Vausort). How bizarre, that these axis is barely known in the North of the country.

ARP2 Editions defends the work of photography authors who maintain a philosophical, documentary or – like in the case of Michel Beine – poetic relationship with the landscape. Through its design, Beine’s book has adopted an intimist feel that you can approve of but also regret because the pictures also merit a larger format, we think.

But, for sure, Ailleurs always will remain one of these precious experiences we want to come back to, for instance on one of these occasions when we want to forget the triviality, dulness and repetitiveness of our simple lives.

David Nollet