Somerset House curator Claire Catterall takes us through the Malick Sidibé exhibition

Date
13 October 2016

As the Somerset House opens “Malick Sidibé: The Eye of Modern Mali”, Claire Catterall, the exhibition’s curator picks out five of her favourite images from by the photographer who captured life at full throttle in a newly independent Mali.

Malick Sidibé’s work has given us a window on to the textures and transformations of African culture in the second half of the 20th century. He was ‘The Eye of Bamako’, but also its heart, soul and spirit: an insider who instinctively understood the power of photography to reflect, and to define, a time, a place and its people. His photographs are a prism though which the rest of the world has viewed the country.

Nuit de Noël (Happy Club), 1963

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Malick Sidibé: Nuit de Noël (Happy Club)

This is perhaps Sidibé’s most famous photograph, and people have commented on the intimacy of the boy and girl, their heads almost touching, as an indication of how times had changed in post-colonial Mali. What is less widely known is that the couple in the picture are in fact brother and sister, and it was taken in their home – the boy learning how to dance. It speaks of a society that is just waking up to a new exciting age of social and cultural freedom, but still holding on to traditional family values and decorum. It is a moment of innocence and tenderness, as well as joy.

Regardez-Moi!, 1962

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Malick Sidibé: Regardez-Moi!

Sidibé used to go to Bamako’s dances armed with his flash camera – the country’s first and only travelling photographer – to capture the local youth at Bamako’s house parties and dances. He would let the flash off on his arrival to let everyone know he was there, and he said he could feel the temperature rise as he did so. Sidibé was their contemporary, so was able to move amongst them, dancing with them, becoming an almost invisible presence. And he understood what it was all about – the music, the movement, the gaiety and delight. Sidibé wanted to show the mad ambience of the times, the revolution, the fact that everything had changed. This photograph, particularly, captures that moment.

Les Trois Agents du FBI, 1973

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Malick Sidibé: Les Trois Agents du FBI

This picture shows so clearly the influence of American Noir thrillers, the three men looking so cool and wanting to emulate the film stars they saw on the screen. But this is done entirely on their own terms, in a period when the younger generation were free to express themselves in ways that their elders couldn’t. It is less about the clothes themselves than the style and the attitude, which they own completely.

Les Retrouvailles au Bord du Fleuve Niger, 1974

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Malick Sidibé: Les Retrouvailles au Bord du Fleuve Niger

I love this picture for the contrasts of style and everyday life, of enjoying a relaxing day by the river but being conscious of creating a staged dramatic effect for the camera. The mismatched underwear, sarongs and tatty straw hat juxtaposed with the cool sunglasses and skin-tight white shirt and flared trousers; the passionate embrace of the couple in the foreground with the more languorous pose of the couple behind them.

Les Jeunes Bergers Peulhs, 1972

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Malick Sidibé: Les Jeunes Bergers Peulhs

What I love most about this image is the expression on these three young men’s faces – so focused and serious, staring straight down the lens of the camera. Everything they want to tell you about themselves is there – the fantastic new boombox, the flashy watches, the man bag tucked under one arm, the hats just so. I also love the mix of styles – the traditional African dress accessorised with all the latest fashion items and gizmos.

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About the Author

Bryony Stone

Bryony joined It's Nice That as Deputy Editor in August 2016, following roles at Mother, Secret Cinema, LAW, Rollacoaster and Wonderland. She later became Acting Editor at It's Nice That, before leaving in late 2018.

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