STEVENSON

Mame-Diarra Niang

29 November 2022
E-Flux

'Mame-Diarra Niang’s The Citadel: a trilogy': Sean O'Toole appraises 'the tension between self and place' articulated through Niang's photobook, noting, 'Its distinction emerges out of Niang’s willingness to subordinate documentary exegesis to mythic questing'.

British Journal of Photography, 16 November 2022

Lindi Mngxitama reflects on Same Guent Guii, writing, 'Fretted and erupting, dissolving and disappearing into kaleidoscopic colours to (re)create themselves in spaces that dance beyond the borders and bondages of Black enfleshment thus complicating the very constructions and conditions of Blackness'.

NRC, June 2021

Concluding the efforts of an international group of institutions, 'Galleries Curate' presents an exhibition of Mame-Diarra Niang and Barthélémy Toguo works in which 'both [artists] show variations on portraits', write Hans den Hartog Jager, Thomas van Huut and Toef Jaeger.

Elephant, June 2021

Charlotte Jansen finds Niang's 'Léthé' series beguiling as it reverses the purpose of the photograph. 'Rather than creating a totem of the past, they constitute a deliberate erasure that forces us to forget.'

Artthrob, December 2020

‘If we want to understand how to map the humane in an increasingly dehumanising photographic world, the glitch might be the starting point. A glitch is a nothing which leaves room for the humane to rush in’ writes Keely Shinners on the occasion of Call Me When You Get There by Mame-Diarra Niang

i-D Netherlands, December 2018

'De betonnen landschappen van Mame-Diarra Niang lezen als zelfportretten'. Rolien Zonneveld spraken de Frans-Senegalees-Ivoriaanse fotograaf tijdens de voorbereidingen op de expositie 'Recent Histories' in Huis Marseille. (Article in Dutch)

NRC.nl, December 2018

Mame-Diarra Niang vertelt met haar foto’s het verhaal van een zoektocht naar zichzelf, en naar haar verhouding met de plek die ze vastlegt. 'De foto’s mogen geen nostalgie uitstralen.' Door Toef Jaeger (Article in Dutch)