Photo Souvenir
by Paul Cohen & Martijn van Haalen
First Run Icarus Films, New York, USA,
2007
DVD, 54 mins, col., 2006
Distributors website: http://www.frif.com.
Reviewed by Martha Blassnigg
University of Plymouth
martha.blassnigg@gmail.com
With Photo Souvenir, a documentary
film produced by the Dutch Television
company VPRO, Paul Cohen and Martijn van
Haalen have touched a burning issue: the
competing imperatives in marketing African
art in Europe against the backdrop of
post-colonial history, contradictions
which are made transparent both within
its content and style. It shows the process
of the making of a potentially new photographic
artist from Niamey, South-West of Niger,
in the context of the European art market
in France, the former colonial power until
Nigers independence in 1960. Beneath
the surface, the film deals with the issue
of poverty and its capital value. This
is expressed both through the documentary
film style in its montage between the
struggles of the main protagonist, the
photographer Philippe Koudjina, and the
doyens of the European art market who
make their commodity by including a sometimes
inseparable amalgam between philanthropic
sensitivity and a nostalgia for the golden
days of Africa. The filmmakers situate
the apparent fascination with the cheerful
60s of a joyful Africa
in a displacement of an unbearable present
with a nostalgia for the past of which
the photographs act as souvenirs of both
the personal memory of youth and the collective
memory of a young, celebratory independent
nation. The contemporary political awareness
of what might be called a post-colonial
sensitivity is constantly at odds with
the tastes and marketing strategies for
the European art market to sell African
photography, while the photographs at
the same time are clearly perceived and
recognised as powerful catalysts and gateways
for the continuous negotiation with the
past in relation to the present.
In a similar way, the documentary style
itself tackles a precarious balance between
nostalgic sentiment and an almost indirect
confession of guilt, which could be taken,
by a critical viewer, as inherent self-reflection
of its medium in its own right. This can
be related particularly to the competing
forces as they are played out in the documentary
film market in the inherent paradox between
content provoking social activism and
film form striving toward aesthetic appreciation
and pleasure. The images are sometimes
constructed to create nostalgic templates
as when Koudjina is shown in his former
studio in which time seems to have stood
still. The memories he shares are juxtaposed
with what at the surface appears as an
artificially created arts discourse in
the European context. This indicates how
the past can always only be understood
through the present, how through the past
and memories the present is actively constructed,
and the flow of time liberates memory
as lived experience and shared consciousness.
The narrative structure in the film is
set up from the beginning with juxtapositions
between Koudjina in his archive and, towards
the end, his situation as beggar, and
other villagers who show their personal
photographs from the 60s and 70s, pictured
at the time when he was well established
locally as a photographer. Philippe Koudjina
features as the main character of the
film; however, his photographs soon take
over the narrative drive in mapping out
the pathways through the network of connoisseurs,
art dealers and doyens. In the very moving
first chapters after the introduction
entitled SURVIVAL (1), Koudjina shows
his PHOTO CABINET: his former photo studio
that now seems to serve mainly as repository
of Koudjinas memories among the
remainders of old photographic equipment.
Among these curiosities, he shows his
collection of Polaroid cameras, which
at the peak of his career he would rent
out when several parties were competing
for his attendance. These antiquities
in themselves evoke a nostalgia for dead
media (2) a curious coincidence
that Polaroid has just announced to stop
producing their film stock. The lost Hasselblads
as well as the fame of photographic encounters
with visitors such as Maria Callas, Pier
Paolo Pasolini or Georges Pompidou surface
as faint remembrances behind the veils
of DUSTY NEGATIVES.
The obscurity of his work in his closest
environment becomes almost a symptom of
the progressive loss of his sight, and
the blurring between his vision and the
objects remembrances analogously
reflect the extra-orbital discrepancies
between the competing paradigms and imperatives
at work in the intercultural and interdisciplinary
negotiations of his photographic oeuvre.
One remarkable scene exemplary of one
of these dimensions is, when Ousmane Gindos
(Philippe Koudjinas youth friend)
shares his view on art: He defines art
as something bizarre, as an unrepeatable,
extraordinary achievement and illustrates
it through a catching description of the
extraordinary goal by Pelé during
the Germany-Brazil football world cup
final, an elegant interconnection of two
dominant currencies of Africa in the global
market: art and football.
The main plot is designed along the photographs
route between the art dealers and sponsors
who negotiate a possible new future of
a potential star. The film makes transparent
the various competing discourses and forces
converging around the subject of African
art in the art market, which provides
some poignant materials for the critical
viewer. This becomes particularly evident
in the contrasting sequences which show
and discuss examples of two photographers
who have been made, such as
the acclaimed photographer Seydou Keita,
or MALICK SIDIBE (both from Bamako,
Mali) who features in the film during
an exhibition in Monaco and its glittering
art culture, which leads to several encounters
and contradictions, reminiscent with traces
of an old imperialism. Taken up by the
same Parisian art curator who made Sidibe
famous, the NEW PRINTS, made from Koudjinas
negatives, return from France to be signed
off by the artist in order to lift the
market price, elevated by the claim, according
to connoisseurs, that they have been produced
by traditional production techniques.
Here again, nostalgia for old technologies
mixes with market strategies and values,
the specific alchemy that creates the
price for African photographic ART, somewhere
between 3.000 to 20.000 Euros per photographic
print. The film does not show us explicitly
the final outcome of the negotiations,
although it is suggested that the sponsor
(a fashion designer) may not have taken
the bait. It is also not further contextualised
if Koudjinas side remark, that he
would be quite happy to own a second hand
clothes store, had anything to do with
the involvement of the designer, possibly
a coincidence, which almost asks for a
sequel.
The anticlimax at the end in which Koudjina
is shown in his daily activity begging
on the street to make his living, is almost
ironically contrasted with the impact
of his rediscovery in the
local context: the repercussions of the
MARKET appear to have been picked up in
Niamey. A proud owner of some old personal
photographs taken by Koudjina comes up
to him in the street where he is begging
and asks him to sign them. An absurd scene
amplified by the fact that the autograph-hunter
is not equipped with his own pen. A clear
understanding of market value is not hidden
here in a socio-economical context where
survival rules the law. When Koudjina
is smart enough not to reveal the existence
of the negatives, the embarrassment of
the capitalist character of the quest
is charmingly covered up in the view that
after all:
it is all about
souvenirs". This last scene
sums up the films title and its
voyeuristic style, which sometimes is
unbearable in its intrusiveness. Through
this it becomes a transparent mirroring
of its own strategies of nostalgia and
the exploitation of a guilty conscience,
which is legitimated in the context of
a documentary film market that is currently
predominantly driven by the vicarious
engagement with misery and victim-hood.
This problematic that every documentary
filmmaker has to negotiate, is compensated
here particularly through the main characters
openness and generosity in sharing their
memories and glimpses into their lives.
(3)
The last (but not least) word should certainly
go to Philippe Koudjina himself whose
voice one hopes to hear more. His calm
and modest personality, photographic sensibility
and legacy should not be left to the archivists
and historians of the future although
it may be a constituency who, like anthropologists,
would value the present more than the
past and could leaver Koudjinas
work from a nostalgic souvenir to a critical,
respectful and dignified re-evaluation
in a more sophisticated cultural, historical
contextualisation than the art market
could offer.
(1) The terms in CAPITAL mark the chapters
in sequence throughout the film.
(2) Various dead media projects
have emerged, see for example one of the
early ones: http://www.deadmedia.org/notes/index-cat.html.
(3) This asset has been recognised not
least through the Golden Calf award for
Best Short Documentary at the Netherlands
Film Festival in 2006.
For a book that critically deals with
this subject area, see for example:
Reading the Contemporary: African Art
from Theory to the Marketplace by
Olu Oguibe, Okwui Enwezor. Institute of
International Visual Arts (INIVA), 1999.
For a review of this book see: Peffer,
John. African Modernism, from the Margins
to the Marketplace. In: Art Journal,
Vol. 62, No. 4 (Winter, 2003), pp. 101-103.