The Africa Foto Fair 2025 is presenting an extraordinary collection of photographic works that capture the diverse stories and experiences across Africa and beyond. This premier photography festival, which has evolved significantly since its inception, continues to provide a vital platform for photographers from the continent and international artists documenting African narratives.
The festival's origins trace back to 2010 when renowned photographer Aida Muluneh established the Addis Foto Fest in Ethiopia's capital city. Muluneh created this event with the specific goal of showcasing exceptional talent from Africa and other regions, providing exposure for photographers whose work might otherwise go unrecognized on the global stage. Since the pandemic began, the event has experienced remarkable growth through its online presence, allowing it to include work that transcends geographical boundaries.
This year's featured artists represent a compelling mix of perspectives and backgrounds. Among the standout contributors is Henitsoa Rafalia from Madagascar, who captured a striking image of street trial rider Dada Monistèra. Rafalia, born in Madagascar, began his photography journey in 2011 as a self-taught photographer and turned professional by 2012. His work primarily focuses on political demonstrations, though he also produces important humanitarian reports that document social conditions in his country.
Jean-Luc Konkobo, known professionally as Perfect Black, brings his unique perspective as an Ivorian artist of Burkinabe origin to the exhibition. Navigating between these two cultural worlds, Konkobo's work examines themes of difference, identity, and culture, offering viewers insight into the complex nature of African identity. His participation highlights the festival's commitment to showcasing artists who explore nuanced cultural narratives.
Algerian photographer Ferhat Bouda, currently based in Frankfurt but originally from Bouzeguene, contributes work that focuses on looks, attitudes, and people in both conflict situations and daily life. Bouda's photography aims to reveal the complex stories that exist beyond common clichés and stereotypes, providing audiences with more authentic representations of human experience.
The international scope of the festival is evident through contributors like Christian Sinibaldi, a Rome-born, multi-award-winning photographer who has been part of a select group of freelance photographers working regularly with major publications since 2005. His assignments have taken him throughout the United Kingdom and worldwide, bringing a global perspective to African stories.
Nigerian photographer Sogo Oladele focuses his lens on showcasing the beauty of life in Africa, particularly aspects that rarely reach audiences outside the continent. However, Oladele maintains a balanced approach, not ignoring areas of life that require improvement and development. This honest portrayal reflects the festival's commitment to authentic storytelling.
Ericke Tjiueza from Namibia brings expertise as a photographer, filmmaker, and visual artist whose work specifically aims to reconnect audiences with the layered histories of African identity. Tjiueza's contributions offer nuanced representations of gender, race, and spirituality within the broader context of global Indigenous cultures, adding depth to the festival's cultural exploration.
The festival also features international artists like Carolina Arantes from Brazil, a visual storyteller based between France and Brazil who works internationally. Arantes focuses on how colonial history continues to shape modern democracies. One of her most celebrated photographs features a bull named Jabriel, valued at one million dollars because his sperm can potentially father 600,000 head of cattle, illustrating the complex economic legacies of colonial agricultural systems.
Chinese artist Wang Xue Sophia brings an interdisciplinary approach, working across photography, video, performance, and writing. Born in China and currently based between the Netherlands and Qinghai, she incorporates portraiture, rhythm, singing, and dance into both her research and storytelling methods.
The exhibition also features challenging work from regions facing political difficulties. Kurdish Iranian photographer Ebrahim Alipoor operates under particularly challenging conditions in Iran, where censorship is prevalent. Alipoor uses photography as a tool to trigger social change, including documenting the dangerous paths that kolbars must travel illegally across borders, often carrying heavy items weighing up to 50 kilograms for long distances. These treacherous journeys represent one of the main causes of death among this group.
Additional contributors include Josue Kakou from Ivory Coast, known professionally as Youch, who combines his background as a trained physicist with his passion for photography and graphic design, particularly in advertising. Tunisian artist Skander Khlif, based between Munich and Tunis, explores relationships between people, place, and memory through poetic visual language, focusing on long-term photographic narratives that examine environmental change, cultural identity, and resilience around the Mediterranean and North Africa.
Iranian visual storyteller Kianoush Saadati rounds out the featured artists with work that delves into the intricate relationships between environmental degradation, social justice, and human resilience. His contribution includes a powerful image of Fatemeh, a 33-year-old woman caring for an owl that lost a wing after being shot, symbolizing themes of healing and environmental protection.
The Africa Foto Fair continues its run in Abidjan and Grand-Bassam, Ivory Coast, until December 7, providing visitors with the opportunity to experience these diverse photographic narratives that collectively paint a comprehensive picture of contemporary African and global experiences. The festival's success demonstrates the growing recognition of African photography and its important role in documenting and interpreting modern social, political, and cultural realities.
