These are some of the works by the winners of this year’s prize for Contemporary African Photography (CAP), who were selected from 25 shortlisted artists.
They were announced this week at the Photo Basel international art fair in Switzerland and selected by an international panel of 19 judges. Awarded annually since 2012, t he CAP prize selects five photographers whose works engage with Africa or the African diaspora.
More than 1 000 entries across 60 countries were received, about 70% of them from Africa.
And the winners are:
Johannesburg-born Jodi Bieber won for her series of photos titled #i, in which she deals with the subject of apartheid by focusing on the official absence of apartheid.
As such, her photographic project begins on April 27 1994, the day the ANC won the first free and general elections in South Africa, which she reported on as a journalist for a major daily newspaper.
Sanne de Wilde and Bénédicte Kurzen
Sanne de Wilde and Bénédicte Kurzen, who were born in Belgium and France, respectively, were chosen for their work Land of Ibeji, a series of portraits of twins.
While researching the subject, the photographers relied on unusual staging techniques that showcased their sense of flair and spectacle, emphasising traditional and symbolic colours.
The pair also made use of blending techniques and reflections to highlight their concept of the twin as a mythological figure.
Johannesburg-born Thembinkosi Hlatshwayo also got the nod for his work Slaghuis, which conjures up images of a slaughterhouse or, in a broader sense, a massacre, driving home the point that there is no room for hopes and dreams in his compositions.
The artist shows how his sense of shame and despair regarding the space in which he grew up has given rise to rage.
The notion of Algeria as a multicultural country led photographer Abdo Shanan to question the relationship between personal history and the present.
His work, Dry, also looks at the inherent solitariness of the individual.
Jansen van Staden
Jansen van Staden turned his attention to the fatal mix of tradition and trauma in his homeland.
His Microlight series of photographs is a self-therapy of sorts for Van Staden, illuminating as it does anecdotally social parameters such as the need for closeness and communication, and the constant and unconscious infiltration of the instruments of violence into everyday life.