Malick Sidibé: The Eye of Bamako

Malick Sidibé: The Eye of Bamako

year, the world has said goodbye to Bowie, Prince and
Muhammad Ali; 2016 has been notable for the legends we’ve lost.
Malick Sidibé’s passing this April – at the age of 80 and as a
father of 17 – might not have made the front pages, but the
creative world and Malians alike mourned the loss of Africa’s most
celebrated photographer.

Known as the “eye of Bamako”, Sidibé captured monochrome images
of a newly energetic, exuberant Mali after it gained independence
from France in 1960.

Blind in one eye since a childhood accident, the Soloba-born
artist’s career began when French expat photographer Gérard
Guillat-Guignard hired him as an apprentice, shooting pictures at
weddings and christenings with a Kodak Brownie camera.

After opening his own small studio in 1958 – it measured only
three by four metres – Sidibé developed a more challenging form of
social documentation. Attending dances and social clubs, visiting
as many as four parties every evening, he mingled with young,
fashionable Malians – those with outfits planned weeks ahead and
trouser creases sharp enough to split hairs.

From behind the shutter, he exposed a country shaking off the
shackles of colonialism as its masses mingled on the dancefloor for
the first time. People flocked to Studio Malick for black-and white
portraits, each one animated with props and slick poses.

By the 1990s, Sidibé’s small-format photographs had garnered
popularity across Europe and the US. Indeed, Janet Jackson’s 1997
Grammy award-winning video Got Til It’s Gone took inspiration from
his early portraiture.

In 2007, he became both the first photographer and the first
African artist to receive a prestigious Golden Lion at the Venice
Biennale. Sidibé was credited not only with elevating professional
photography in West Africa, but also with transforming the way that
Westerners perceive the post-colonial region.

Reflecting on his work in 2010, he told The Guardian: “It’s a
world, someone’s face. When I capture it, I see the future of the

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