Omnia

Athens Shot by @sethnocentric (IG x Twitter) Muse IG: @yawamoakogh

Mbacké by Jan.C Photo © 2018

“Men are often seen standing idle, with crossed arms, below a tree - in opposition to women who are always seen working hard. Unemployment in the villages is high and opportunities limited. Despite this, men remain beautifully proud and dignified.” ‘On the road from Bikoro to Bokonda’, Democratic Republic of the Congo, showing at International Art Festival of Photography 2013, Lagos, Nigeria. Photo series by Patrick Willocq.

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Kenyan men dressed in Maasai clothing. 

Two men marry in a traditional zulu wedding.

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For the last three years, Richard Mosse has photographed in eastern Democratic Republic of Congo, a region in which a long-standing power vacuum has resulted in a horrifying cycle of violence, a Hobbesian “state of war,” so brutal and complex that it defies communication, remaining stubbornly outside global consciousness. The Enclave is the culmination of Mosse’s recent efforts to radically rethink traditional representations of conflict photography, drawing on artistic and documentary strategies in equal measure. The Enclave publication presents images shot by Mosse with a large-format camera, as well as selections from the 16 mm film installation presented at the Irish Pavilion during the 55th Venice Biennale. With both still- and 16 mm-cameras, Mosse uses a discontinued military surveillance film, which registers an invisible spectrum of infrared light. The resulting surreal palette describes these isolated, jungle war zones and the soldiers that inhabit them in disorienting psychedelic hues of scarlet, lavender, cobalt, and puce. Working with collaborators Trevor Tweeten (16 mm cinematography) and Ben Frost (sound design), Mosse has captured a landscape that is deceptively seductive, alluring. Ultimately, however, the resulting images and film map the otherwise invisible edges of violence, chaos, and incommunicable horror. At the heart of the project, as Mosse states, is his exploration of the contradictions and limits of art’s ability “to represent narratives so painful that they exist beyond language—and photography’s capacity to document specific tragedies and communicate them to the world.”

Jessica Seamans