STEVENSON

Mame-Diarra Niang

15 October 2024
Musée Magazine

While we ensue on the relentless quest of exploring and representing ourselves, Niang’s images remind us of the impossibility and futility of such a task as the self is constantly subject to being forgotten and remembered writes Amy Wei, reflecting on the artist's solo exhibition at Fondation Henri Cartier-Bresson

Vogue France, 14 October 2024
À la Fondation Henri Cartier-Bresson, Mame-Diarra Niang interroge les représentations occidentales des corps noirs: Review of Remember to Forget by Lolita Mang (Article in French)

E-Flux, 29 November 2022

'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'.

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)

9 More Weeks, August 2018

The matter of self: Mame-Diarra Niang discusses intuition, her notion of territory and making work that is 'radicant' in conversation with Sinazo Chiya

Mail & Guardian, September 2017