Recently I had the opportunity to get in touch with the Swiss photographer Ianne Kenfackwho embarked on a research trip in Abidjan from May 27, 2024 to June 10, 2024. During our interview, she explained that her primary focus was documenting her peers – what she described as “a photographic story of young African creatives living and making art. on African soil.”
Supported by Pro Helvetia, Kenfack’s immersion in Abidjan’s local art scene was further enhanced by following Ivorian artist and archivist, Cedric Kouame
When sharing her motivations behind her research trip to Abidjan and her chosen topic during the trip, Kenfack explains: “My journey to photography started in 2015 with the simple desire to capture accurate and authentic visual representations of these objects contemporary youth, especially from my own generation.” Her artistic evolution recognized the dual role of photography as a witness to the times and as a crucial archival tool, and led her to delve deeper into themes that the representation of black bodies in Western mediadriven by a desire to expand narratives of black identity.
Cédric Kouamé in Yopougon, Ivory Coast. Photography by Ianne Kenfack
This exploration naturally brought the Swiss photographer back to her roots, using photography to document and investigate why many of her colleagues chose to return and stay. This curiosity forms the basis of her current focus: a photographic investigation into the daily lives of young African creatives, inspired by renowned artists such as Malick Sidibe And Samuel Fosso.
Abidjan was a logical choice for her research, influenced by its status as French-speaking city with a shared cultural background. Through connections such as Isaac Luutu from VillageBoya Ugandan clothing brand, met Ianne Cédric Kouamé, whose approach to archiving and dedication to uncovering African cultural artifacts resonated deeply with her.
“During many of our conversations before my arrival, Cédric revealed hidden facets of Abidjan’s culture, highlighting the city’s emerging significance as a cultural center,” she notes. This connection, combined with her need for African-themed archives to enrich her research, made Abidjan the ideal environment for her research.
Curious about methods to uncover hidden facets of Abidjan’s youth culture that go beyond superficial observations, I asked Kenfack the question. She explained: “Building on my background in documenting nightlife scenes, I started digging deeper by focusing on the underlying stories and contexts that shape the lives of my peers.
Nightlife often acts as a microcosm of broader social trends and tensions, allowing me to explore not only the visible aspects, but also the motivations, challenges and aspirations of youth culture, allowing me to capture a more nuanced portrait.”
“By using my own cultural background, I drew on collective memories and shared experiences, which helped bridge gaps and build trust, leading to more open and honest exchanges. Full immersion in the environment was essential: I became one with the community and understood its daily rhythms and subtleties from within.”
She emphasizes the importance of active listening, ongoing dialogue and approaching her research without preconceived notions, which allows her to uncover deeper layers of meaning and context.
“Most importantly, I relied heavily on following Cédric, who was deeply involved in the topic of my research trip. This approach was crucial in gaining an insider’s perspective and accessing areas and insights that might otherwise remain hidden,” she says.
Kenfacks says the meaning of her identity and experiences as a black woman have helped her shape an approach to representation in Abidjan.
“I believe that art and photography have traditionally been male-dominated, and even in most cultures it has only been in recent generations that men and women have begun to share spaces and discussions more equally. Personally, I feel that women’s voices in Africa are often still unheard or heard, which made it even more essential and compelling for me to anchor myself as a woman in these spaces. I believe that life captured from a female perspective provides a unique and necessary lens in my work.
Grand-Bassam, Ivory Coast from unknown. Photography by Ianne Kenfack
By engaging in genuine dialogue and building relationships based on mutual respect, I was able to reflect the true essence of each individual and their stories. This approach not only highlighted their unique experiences, but also contributed to a more inclusive and accurate representation of young Ivorian creatives.”
I then asked about the practical steps taken to facilitate intercultural dialogue through her photography. She says that during her research trip in Abidjan, she used Instagram Stories to get a glimpse of her day in the city’s vibrant culture. This, together with her collaboration with local artists such as Cédric Kouamé, laid the foundation for broader involvement.
“Collaborations with local artists, such as the ongoing project with Isaac and Cédric, further this goal by using photography as a basis for collaboration and cultural exchange. We implemented a barter system where clothing and works of art were exchanged and/or donated in the spirit of cultivating exchanges between countries,” said Kenfack.
In addition to these initiatives, she adds: “The The production and dissemination of easily shared, collected and stored oeuvres, such as print publications, I believe addresses the issue of archives often withheld by Western institutions. By contributing to a ‘database’ of African culture, I hope to preserve and share these cultural stories. Given the rapid pace of the digital age, it is critical to maintain accessible archiving techniques.”
Finally, through her artistic endeavors, Ianne aims to provoke thought and spark discussion about the themes she explores. By documenting Abidjqan’s emerging creatives, she aims to foster connections and dialogue between Ivorian artists and global audiences, emphasizing shared human experiences that cross cultural and geographical boundaries.
Discussing the broader impact and ambitions of her work, Kenfack said: “We could strengthen the collaborative work with Isaac and Cédric that emerges from my research journey through curated platforms and spaces that resonate globally. Through these avenues we could organize workshops and art talks that focus on archiving collective African memories and experiences, using my photography as a cornerstone for insightful discussions and cultural reflection. These workshops could serve as dynamic forums where diverse perspectives come together, cultivating intercultural dialogue and mutual understanding.’”
To conclude our conversation, Kenfack discussed her strategies that went beyond documenting the present to explore the dreams and aspirations of young people in Abidjan for their future. She highlighted the potential of building alliances between organizations like Pro Helvetia and local entities, including emerging arts institutions.
“By exploring such avenues, we can offer young Ivorian artists broader exposure and opportunities to pursue their creative ambitions on a global scale. I am personally committed to exploring ways in which I can broker such collaborative opportunities and forge strong connections between myself, Swiss counterparts and Ivorian artistic communities. I would like to facilitate skills sharing through my own art practice and have the resources to address the existing gaps in infrastructure for analogue photographers (like myself) and support the development of laboratory techniques locally. ”
Looking back on my conversation with Kenfack, I initially previewed her work, but our conversation brought new depth to her practice and approach. It has reshaped my perspective, especially in the way she depicts African bodies that deviate from Western conceptualizations. When I heard about her experiences in Abidjan, I was eager to see how her focus on capturing today’s youth evolves and integrates with her previous projects and creates new avenues for her.
One Toumodis’ last record store, Toumodi, Ivory Coast. Photography by Ianne Kenfack
This story was produced as part of an editorial residency supported by Pro Helvetia Johannesburg, the Swiss Council for the Arts.
