Photographer Cedric Nunn sees things differently. What’s the well-known lensman’s take on Grahamstown and the Eastern Cape, Sue Maclennan asks.
There’s one regret Cedric Nunn carries with him as he leaves Grahamstown this week: it’s that during his long and successful photographic career, this is the first time he’s managed to work extensively in the Eastern Cape. Continue reading →
About a year and a half ago, Berlin based online contemporary African art journal did a review and interview with me on the exhibition and book, ‘Call and Response’. Both can be found between pages 142 and 146 on the link; http://www.savvy-journal.com/savvy_edition4/index.html
Axe Du Sud, a French production company, have produced a documentary on ten South African photographers, myself included, the film was shown on Arte in Europe on 30November. Here is a very short clip from the documentary;
An interview from about two years ago, for the project Photography and Democracy, and courtesy Eva-Lotta Jannsen. Photography and Democracy has many other such interviews with South African photographers and is an important site to visit to learn and find out more about the views of South African photographers, especially regarding the concept and their views around democracy.
I begin the title of this presentation with migrants because in a sense that’s my story, my own personal experience of the world, and it would seem, that of so many other South Africans, and indeed other citizens of the world.
Migrancy, a defining experience worldwide, has been such for millennia, and seems especially so in our present globalised world. The rapid shifts in demographics play havoc with social planning and its various constructs. Mirrored to these shifting human movements, is that of rapidly shifting economies and finances, with finances in particular having become virtual. How we experience this ‘virtuality’, is all too real however. Continue reading →
I put off completing this post for several months, while wars raged around the globe, and war photographers and journalists were taken hostage in countries like Syria, held for ransom and a few decapitated live on camera. One reason is I felt torn that perhaps I was being too facetious about a matter of life and death. I’ve thought long and hard about it and returned to my original feelings on the matter, which are as follows:
Well, there I go again on that P word and concept. But if you think about it, it most definitely concerns images, so I need to give it my best shot. A disclaimer is that I was singularly unsuccessful in my brief stint in the said profession. I did make a few memorable images in the Natal war, and promptly had a moral crises when realizing that I along with other unsavoury characters was benefiting from the death of many innocents, and worse feeding a culture of fear. Continue reading →
Karima Effendi (KE): When it comes to training and professional development, how important is the idea of exchange as demonstrated in the Joburg Photo Harare masterclass?
Cedric Nunn (CN): Exchange is key to the development of life in general, and in our specific regional context where countries were separated by ideological differences, fostering connections through exchange is critical. We need to be made aware of our commonalities and shared interests.
If you think of Zimbabwe, there are “perceived” differences between us (South Africa and Zimbabwe). We have a particular understanding of the processes that happened in Zimbabwe, which comes from these perceived differences. Continue reading →
Social Landscapes, also called ‘Transitions’, is a French/South Africa Season project. The interview by Jeanne Fouchet here is published in the book ‘Transitions’.
ITV Cedric Nunn
Cedric Nunn uses photography to remind South Africa of the unsuccessful resistance of its indigenous people to the confiscation of their land. Nunn’s photographs not only keep alive the tragic history of land-thefts, but also show how indigenous people remain dispossessed and excluded from their ancestral homes, as the exploitation of the region by global mining and agricultural interests continues unabated. Cedric Nunn took his photography series in the Eastern Cape Province, Grahamstown, Peddie, and Hogsback.
Q. You have always been a socially engaged photographer. How does the series you completed for this project continue that work?
The project I chose for this series was one I was intending to do independently for myself, and indeed, it has just been begun and is in need of a lot more work towards completion. It dovetailed with the “Social Landscape” project and therefore it was imperative to begin with it. Continue reading →