{"id":11196,"date":"2016-04-06T15:03:56","date_gmt":"2016-04-06T14:03:56","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11196"},"modified":"2016-10-10T16:00:15","modified_gmt":"2016-10-10T15:00:15","slug":"cornelius-azaglo-photo","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/cornelius-azaglo-photo\/","title":{"rendered":"Corn\u00e9lius Azaglo &#8211; Photo"},"content":{"rendered":"<div id=\"pl-11196\"  class=\"panel-layout\" ><div id=\"pg-11196-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11196-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11196-0-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<figure id=\"attachment_11191\" aria-describedby=\"caption-attachment-11191\" style=\"width: 1500px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11191\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001.jpg\" alt=\"\u00a9 photo Corn\u00e9lius Augustt Azaglo, 'Farmer near Korhogo', ca. 1970\" width=\"1500\" height=\"1450\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001.jpg 1500w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001-300x290.jpg 300w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001-768x742.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI\u2013CAZAGLO_PH001-1024x990.jpg 1024w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/a><figcaption id=\"caption-attachment-11191\" class=\"wp-caption-text\">\u00a9 photo Corn\u00e9lius Augustt Azaglo, 'Farmer near Korhogo', ca. 1970<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div><div id=\"pgc-11196-0-1\"  class=\"panel-grid-cell\" ><div id=\"panel-11196-0-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"1\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h3>PHOTO<\/h3>\n<p>(Korhogo, Northern Ivory Coast)<\/p>\n<p>\u00a0<\/p>\n<p>born in\u00a01924 in Kpalim\u00e9, Togo\u00a0- died in 2000 in Korhogo,Northern Ivory Coast<\/p>\n<p>\u00a0<\/p>\n<p>active from 1955 to 1995 in Korhogo<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>Cornelius Yao Augustt Azaglo settled in 1955 in Korhogo in northern Ivory Coast, and performed with his 'camera box', an artisanal ID photos. He opened his \"North Studio\" in 1958, with a 6x6 Rolleiflex.<\/p>\n<p>\u00a0<\/p>\n<p>Azaglo define himself as a 'good technician', a craftsman from shooting to development film then to classification of its approximately 100,000 negatives, mostly portraits. 'When the customer comes into my studio, he first looks in the mirror. Because of the sweat, sometimes I put some powder on the face. Then I places him front to the camera', he says.<\/p>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11196-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11196-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11196-1-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"2\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>[run the slideshow below]<\/p>\n<div id=\"metaslider-id-11193\" style=\"max-width: 1500px;\" class=\"ml-slider-3-70-0 metaslider metaslider-flex metaslider-11193 ml-slider ms-theme-radix has-dots-nav\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Azaglo diaporama\">\n    <div id=\"metaslider_container_11193\">\n        <div id=\"metaslider_11193\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-11187 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11187\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH019.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11187\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11185 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11185\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH018.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11185\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11189 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11189\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH020.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11189\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11183 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11183\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH010.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11183\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11167 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11167\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH002.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11167\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11169 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11169\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH003.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11169\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11181 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11181\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH009.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11181\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11173 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11173\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH005.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11173\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11175 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11175\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH006.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11175\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11177 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11177\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH007.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11177\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11179 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11179\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH008.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11179\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11171 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11171\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_CAAZAGLO_PH004.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11193 slide-11171\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11196-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11196-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11196-2-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"3\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p class=\"p1\"><span class=\"s1\">Often, he leaves on a motorbike with its camera equipment traveling the rural villages nearby. On the main town place, with a cotton cloth stretched against a mud wall, he photographs the villagers under the burning sun. Azaglo succeeds there to shoot their hard farmers looks. All photographs thereafter, even when taken in its studio under the spotlight, will seek to shoot these looks. 'What is important is the setting and eyes. Without eyes, I can not do shooting'. This simple, direct photography, without effect, is to be effective. The brand of the photographer: truth laid bare.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">With the arrival in the 1980s of the first color 'minilabs' in Africa, number of black and white studios close and archives are destroyed. The activity of 'North Studio' ailing from 1990s but Azaglo remains committed to her work. He installs his room in a corner of the studio where he lived until his death in 2000. 'I have cared for my work', he said, humbly.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">Discovered by the Ivorian photographer Dorris Haron Kasco in 1993 as part of an inventory of photo studios in Ivory Coast (a project Revue Noire), he participated at the first Photography Encounters of Bamako in 1994 before a great tribute that in 2001. D.H. Kasco will conduct in 1998-2001 a film about the life of Azaglo, Djataala shadow lessee.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p4\"><span class=\"s1\">by\u00a0Pascal Martin Saint Leon<\/span><\/p>\n<p>\u00a0<\/p>\n<h2>\u00a0<\/h2>\n<h2>Bibliography<\/h2>\n<p>\u00a0<\/p>\n<p>Revue Noire Magazine RN17, African\u00a0photography, December 1994<\/p>\n<p>'Corn\u00e9lius Yao Augustt Azaglo, photographs, Ivory Coast, 1950-1975', texts \u00a0by Jean-Christophe Deberre, Nathalie Rosticher, Dorris Haron Kasco, Revue Noire \u00e9ditions, Paris 1996<\/p>\n<p>'Produire des images en Afrique : l\u2019exemple des photographes de studio', by\u00a0Jean-Fran\u00e7ois Werner, Cahiers d\u2019\u00e9tudes Africaines, 141-142, XXXVI (1-2), 1996, pp. 81-112.<\/p>\n<p>'In-sight: African photographers, 1940 to the Present', by\u00a0C. Bell, O. Enwezor,\u00a0 D. Tilkin,\u00a0 O. Zaya, Guggenheim Museum, New York 1996.<\/p>\n<p>'Anthologie de Photographie africaine, de l'Oc\u00e9an indien et de la diaspora', by\u00a0Jean Loup Pivin, Pascal Martin Saint Leon, Simon Njami and N'Gon\u00e9 Fall, Revue Noire \u00e9ditions, Paris 1998<\/p>\n<p>'La sauvegarde du patrimoine photographique africain. Le cas des archives de Corn\u00e9lius A. Augustt', \u00a0by Jean-Fran\u00e7ois Werner,\u00a0 in Etudes photographiques n.8, novembre 2000. \u00c9tudes photographiques, n.8, 2000, pp. 138-145<\/p>\n<p>'The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition', by Corinne A. Kratz, University of California Press 2002<\/p>\n<p>'L'Afrique par elle-m\u00eame \/ Africa by Africans', by\u00a0Anne Marie Bouttiaux, Alain D'Hooghe, Pascal Martin Saint Leon, Mus\u00e9e royal d'Afrique centrale de Tervuren and Revue Noire \u00e9ditions, Paris 2003<\/p>\n<p>'Snap Judgements: New Positions in Contemporary African Photography', by\u00a0O.Enwezor,\u00a0 Steidl \/ ICP 2006.<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>Expositions<\/h2>\n<p>\u00a0<\/p>\n<p>'L'\u0153il du temps, les photographes de C\u00f4te d'Ivoire', exhibit by Dorris Haron Kasco, CCF, Abidjan 1994<\/p>\n<p>Exhibit Revue Noire at\u00a01\u00e8re Rencontres de la Photographie de Bamako, 1994<\/p>\n<p>'In-sight: African photographers, 1940 to the Present', Guggenheim Museum, 1996<\/p>\n<p>'L'Afrique par elle-m\u00eame' (Africa by Africans), Revue Noire, MEP, Paris 1998 (tour exhibit\u00a0until 2003 : Brzail, South Africa, Germany, Usa, U.K., Italia, Belgium<\/p>\n<p>'Hommage \u00e0 Corn\u00e9lius Augustt Azaglo', Rencontres de la Photographie de Bamako, 2001<\/p>\n<p>'Africa pelos Africanos', Centro Portugues de Fotografia, Porto 2006<\/p>\n<p>\u00a0<\/p>\n<h2>FilmographY<\/h2>\n<p>\u00a0<\/p>\n<p>'Djataala, le preneur d'ombre', filmed by\u00a0Dorris Haron Kasco, 47', 2001<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>Revue Noire publishing<\/h2>\n<p>\u00a0<\/p>\n<figure id=\"attachment_8503\" aria-describedby=\"caption-attachment-8503\" style=\"width: 225px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/antho-african-photo\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8503 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-225x300.jpg\" alt=\"Anthology of African Photography\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-225x300.jpg 225w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-768x1024.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b.jpg 1500w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/a><figcaption id=\"caption-attachment-8503\" class=\"wp-caption-text\">Anthology of African Photography<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_7106\" aria-describedby=\"caption-attachment-7106\" style=\"width: 223px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/cornelius-augustt-azaglo\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-7106 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Azaglo_Photo_Ivoire_Ivory_Korhogo_COUV-223x300.jpg\" alt=\"Corn\u00e9lius Augustt Azaglo, portraits\" width=\"223\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Azaglo_Photo_Ivoire_Ivory_Korhogo_COUV-223x300.jpg 223w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Azaglo_Photo_Ivoire_Ivory_Korhogo_COUV.jpg 446w\" sizes=\"(max-width: 223px) 100vw, 223px\" \/><\/a><figcaption id=\"caption-attachment-7106\" class=\"wp-caption-text\">Corn\u00e9lius Augustt Azaglo, portraits<\/figcaption><\/figure>\n<p>.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Corn\u00e9lius Augustt Azaglo (1924 Togo &#8211; 2000 Korhogo, Northern Ivory Coast) photographer of rural people portraits<\/p>\n","protected":false},"author":2,"featured_media":11191,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[69],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11196"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=11196"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11196\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/11191"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11196"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11196"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}