Starting in the 1980s, photographer Catherine De Clippel began working with several anthropologists in West Africa, first in Mali, then in Togo and Benin. Together, they made more than fifteen documentary films around possession cults and therapeutic rites. Always accompanied during these shoots by her two cameras, Catherine De Clippel thus begins a photographic work on vodou, which gradually had a considerable importance in all of her work. In January 2019, she was invited by the plastic artist Dominique Zinkpè, residing in Cotonou, to continue her photographic work and then returned to Benin. Her photographs, bordering on ethnographic documents, documentary photography and art photography, weave a complex, almost ambivalent relationship with rites, celebrations and actors of worship. While immortalizing them, she celebrates what, in her words, makes vodou unique: the unknowable, the non-visible. The new book that the Maison des Sciences de l’Homme editions dedicate to the work of Catherine De Clippel brings together 80 photographs, taken between the end of the 1980s till today. Three texts accompany them: a first by museum curator and exhibition curator François Cheval, an...
This article is reserved for subscribed members only. If you are already a member, you can log in here below.
Subscribe for full access to The Eye of Photography archives!
That’s thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for $5 or annually for $50 (2 months offered).