{"id":11257,"date":"2016-04-07T15:08:14","date_gmt":"2016-04-07T14:08:14","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11257"},"modified":"2016-10-10T15:55:34","modified_gmt":"2016-10-10T14:55:34","slug":"dorris-haron-kasco-photo","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/dorris-haron-kasco-photo\/","title":{"rendered":"Dorris Haron Kasco &#8211; Photo"},"content":{"rendered":"<div id=\"pl-11257\"  class=\"panel-layout\" ><div id=\"pg-11257-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11257-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11257-0-0-0\" 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_11239\" aria-describedby=\"caption-attachment-11239\" style=\"width: 1500px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11239\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001.jpg\" alt=\"\u00a9 photo Dorris Haron Kasco, 'Naked Madman in the Street', Abidjan 1992\" width=\"1500\" height=\"2214\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001.jpg 1500w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001-203x300.jpg 203w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001-768x1134.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF_CI_DHKASCOfous_PH001-694x1024.jpg 694w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/a><figcaption id=\"caption-attachment-11239\" class=\"wp-caption-text\">\u00a9 photo Dorris Haron Kasco, 'Naked Madman in the Street', Abidjan 1992<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div><div id=\"pgc-11257-0-1\"  class=\"panel-grid-cell\" ><div id=\"panel-11257-0-1-0\" 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>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>born in\u00a01966 at Daloa,\u00a0Ivory Coast<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>works in Abidjan and France<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p>Between 1987 and 1989, after three years of training in France, Dorris Haron Kasco aims first at fashion photography at the time Abidjan discovered the talents of its designers: \u2019The designer embellishes a body, the photographer to exalt\u2019. It exposes his first work in 1990 \u2019Masked Woman\u2019 and \u2019Old Bassam\u2019 in 1991.<\/p>\n<p>\u00a0<\/p>\n<p>His exhibition 'They're crazy, we don\u2019t care' presented at the French Cultural Centre in Abidjan in October 1993 and the first Meeting of the African Photography in Bamako in 1994 (by Revue Noire, which published his book \u2019<a href=\"http:\/\/www.revuenoire.com\/en\/edition\/madmen-in-abidjan\/\">Les Fous d\u2019Abidjan<\/a>\u2019) is the result of three years of work inaugurating a research on African city and its forgotten ones.<\/p>\n<p>\u00a0<\/p>\n<p>Following, he worked for 3 years on children's streets of Abidjan.<\/p>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11257-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11257-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11257-1-0-0\" 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-11254\" style=\"max-width: 1500px;\" class=\"ml-slider-3-70-0 metaslider metaslider-flex metaslider-11254 ml-slider ms-theme-radix has-dots-nav\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Kasco diaporama\">\n    <div id=\"metaslider_container_11254\">\n        <div id=\"metaslider_11254\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-11242 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11242\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-0303.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11242\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11244 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11244\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-0308.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11244\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11250 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11250\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-0324.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11250\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11248 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11248\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-0317.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11248\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11240 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11240\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AF-CI-DHKASCOfous-PH305.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11240\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11252 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11252\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-RevueNoire.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11252\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11246 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11246\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Kasco-0312.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11254 slide-11246\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11257-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11257-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11257-2-0-0\" 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\">In light of its course, it would be almost a opposite-photography that propose Dorris Haron Kasco. As we can describe the African photographic tradition - that of the studio and on the markets where come crowds in their Sunday best for photographing - as being involved in its uses of a culture of pageantry, of social and wonderful spectacular.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">Nowhere posture in these harsh portraits of Abidjan\u2019s fools, no patriarchal dignity, no staging that would counter the social edifice of an attractive envelope. On the contrary, show the behind scenes, or rather the reverse, where the urban forgotten ones surrender.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">This construct is a reworking of photographic codes, contaminating the studio minds of cheap junk.\u00a0These shapes that we come across, but we don\u2019t want to see, are the other mirror of the society. Reflecting figures, raising their eyes beyond the camera to enlightenment of impossible recognition.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">The approach of Dorris Haron Kasco is irreducibly artistic. It gives fads and very \"physical\" accents of these crazy men the possibility of moving into our bodies.<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">by Jean Loup Pivin<\/span><\/p>\n<p>\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<h2>publications Revue Noire<\/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_7300\" aria-describedby=\"caption-attachment-7300\" style=\"width: 220px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/edition\/fous-dabidjan\/\" rel=\"attachment wp-att-7300\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-7300 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Kasco-Photo_Ivoire_Ivory_Abidjan_Fous_Madmen_COUV-220x300.jpg\" alt=\"Les fous d'Abidjan, photos Dorris Haron Kasco\" width=\"220\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Kasco-Photo_Ivoire_Ivory_Abidjan_Fous_Madmen_COUV-220x300.jpg 220w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/00-RevueNoire-Kasco-Photo_Ivoire_Ivory_Abidjan_Fous_Madmen_COUV.jpg 438w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/><\/a><figcaption id=\"caption-attachment-7300\" class=\"wp-caption-text\">Les fous d'Abidjan (Abidjan Madmen), photos Dorris Haron Kasco<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_6888\" aria-describedby=\"caption-attachment-6888\" style=\"width: 227px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/afrique-elle-meme\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-6888 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/000_RevueNoire-AfrMM-Photo_Pivin_Martin_Tervuren_COUV-227x300.jpg\" alt=\"L'Afrique par Elle-m\u00eame\" width=\"227\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/000_RevueNoire-AfrMM-Photo_Pivin_Martin_Tervuren_COUV-227x300.jpg 227w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/000_RevueNoire-AfrMM-Photo_Pivin_Martin_Tervuren_COUV-768x1014.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/000_RevueNoire-AfrMM-Photo_Pivin_Martin_Tervuren_COUV-775x1024.jpg 775w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/000_RevueNoire-AfrMM-Photo_Pivin_Martin_Tervuren_COUV.jpg 960w\" sizes=\"(max-width: 227px) 100vw, 227px\" \/><\/a><figcaption id=\"caption-attachment-6888\" class=\"wp-caption-text\">L'Afrique par Elle-m\u00eame (Africa by Africans), a century of African photography<\/figcaption><\/figure>\n<p>.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Dorris Haron Kasco (1966 Ivory Coast) photographer working at Abidjan and in France. Madmen and Street children in Abidjan<\/p>\n","protected":false},"author":2,"featured_media":11239,"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\/11257"}],"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=11257"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11257\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/11239"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}