It was only once I was several feet away from the first photograph displayed at the Museum of Contemporary Photography of Columbia College Chicago in the series called Avenue Patrice Lumumba, did I realize the aesthetic appeal of the style and content of the artist. Though I’m not typically one to appreciate architecture to its full extent, I decided to examine the series in more depth, reading the placard at the front of the gallery. In her brief biography, Karen Irvine, Curator of the Museum of Contemporary Photography (MOCP), Columbia College Chicago, has stated, “In his project Avenue Patrice Lumumba (2007-08), South African artist, Guy Tillim (b. 1962) records the architecture and infrastructure of colonial and post-colonial Africa.” By no means, do I claim to be an expert on South Africa, architecture or photography, but having studied an ample amount of post-colonial societies, I dove in.
The distinct angles and geometric shapes that jump out from each photograph bring a less emotional, more matter-of-fact feel to the image. The scenes are of run-down apartment buildings with an almost post-apocalyptic feel to them due to the very few human subjects in them. Even so, the artist’s style did not seem sad or depressing, rather they felt almost proud or latently patriotic. The surreal contrast of the disheveled buildings and the clear blue skies also help to emote an up-beat perspective. The first photo, Apartment Building (Beira, Mozambique 2008), displays the scruffy side of an apartment building that still holds the aura of its glory days. It reminded me of prized show-dog, lost from its owner, with filthy, matted fur, but one can just tell that it could perform any of its old tricks if given the opportunity and love it once had. Like the canine, the image of the many-occupied dwelling is full of hope.
Another photo in the series that struck me was another apartment building, but not from the perspective of an outsider observing it, but one walking out of the structure onto a rooftop patio (Apartment Building, Avenue Bagamoyo, Beira, Mozambique 2008). As a viewer, I was instantly placed inside the structure, proceeding forward between two large rectangular pillars, beyond which the daylight opens up the entire level. Though the figures on the patio remain largely in the shadows, the opening and flood of light evoked a sense of freedom in me and I am eerily reminded of the rooftop scene in the film, Requiem for a Dream. It comes to mind that perhaps the artist is paralleling the goodness of nature to the perilous ever-“progressive” march of industrialism. These inorganic structures placed next to palm trees, blue skies and sand put me in a state of unease without fully discontenting me. The matter-of-factness I fore mentioned mutes any negative connotations I could harbor. The image sticks with me in curiosity rather than any negative or positive emotional reaction.
Court Records (Lubumbashi, Democratic Republic of Congo 2007), though done in the same style as Guy Tillim’s other photographs, displays the infrastructure aspect that Karen Irvine addressed. It depicts a room packed to the brim with shelves of files as well as a desk covered in them. The angle of the lens and actual arrangement of the room show the same obviously planned vision on behalf of the photographer as well as the naturally disorganized nature of the room.
Considering my overall experience, you will enjoy this exhibit if you are interested in South Africa, Architecture, Post-Colonial studies or photography but I must admit that Guy Tillim’s Avenue Patrice Lumumba is also generally evokes a pleasure in its aesthetic quality that could entice any viewer.
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