A Year and A Day. Un an et un jour - Leonore Mau and Haiti. Leonore Mau et Haïti

Leonore Mau traveled for almost two decades with the writer Hubert Fichte to research Afrodiasporic religions. Her photographs remained largely unpublished. They present us with challenges: What does it mean to look at them today-after debates about representation and the treatment of artistic ethnographic photographs? As a case study, A Year and A Day focuses on Mau's pictures taken in Haiti in the 1970s during the Duvalier dictatorship. The title refers to the cosmology of Vodou, according to which souls live under water for a year and a day before rebirth. Artists and scientists delve deeper into the historical background and shed light on Haiti in the 1970s, the relationship between Germany and Haiti, the photography of rituals, and the ethics of taking picture and looking.

Leonore Mau (1916-2013) began taking photographs in Hamburg in the 1950s. From the 1960s she lived and traveled with the writer Hubert Fichte (1935-1986).

Inhaltsverzeichnis:

CoverTitlepageContentsForewordIntroduction - Dora Imhof, Gina Athena Ulysse, U5CalendarThis Photographer Called Leonore Mau - Nathalie DavidAt the Borderline between Indiscretion and Fascination: Leonore Mau and Hubert Fichte in Haiti - Dora ImhofGermans in Ayiti/ Haiti in Brief - Yveline AlexisA Duty of Vigilance: Intersecting Gazes on Haitian Dignity and Visual Memory - Erol JosuéCalendarParadoxical Visibility in Leonore Mau's Photography of Haiti - Sabine LamourLeonore Mau and the Colors of Sadness - Kettly MarsMany Roads lead to Port-au-Prince: The Haitian-Swiss Artist Sasha Huber in Conversation with Swiss Historian and Activist Hans Fässler - Sasha Huber / Hans FässlerAfro-Atlantic Sacred Rituals in Photography - Zainabu JalloCalendarWhere Mau's Gaze is Met: Ethics and the Artist as Emissary of Haitian Humanity - Katherine SmithLUX, Visual Spectacle, and Studio Photography An Attempt at Interpreting Scenes of Haiti from Leonore Mau's Estate - Christopher A. NixonNH2K (from theVenetian Series), 2001 - Jean-Ulrick DésertCalendarA Thin Line Between Love and Fear: Vodou, Regleman, and Ritual (Dis)Order in Leonore Mau's Photographs - Kyrah Malika DanielsOut of Focus: A Research Report - Dora Imhof, U5DaDoll's Rasanblaj: Performance Score - Gina Athena UlysseAcknowledgementsGlossaryContributorsSelected BibliographyCalendar References / Photo creditsPhoto creditsImprintPage de titreContenuPréfaceIntroduction - Dora Imhof, Gina Athena Ulysse, U5CalendrierCette photographe s'appelle Leonore Mau - Nathalie DavidÀ la frontière de l'indiscrétion et de la fascination: Leonore Mau et Hubert Fichte en Haïti - Dora ImhofDes Allemands en Ayiti: Haïti en bref - Yveline AlexisDevoir de vigilance: regards croisés sur la dignité haïtienne et la mémoire visuelle - Erol JosuéCalendrierLa visibilité paradoxale dans la photographie de Leonore Mau en Haïti - Sabine LamourLeonore Mau et les couleurs de la tristesse - Kettly MarsPlusieurs voies mènent à Port-au-Prince. Échange entre l'artiste helvético-haïtienne Sasha Huber et Hans Fässler, historien et activiste suisse - Sasha Huber / Hans FässlerLes rituels sacrés afro-atlantiques en photographie - Zainabu JalloCalendrierLe regard de Leonore Mau. Éthique et vision de l'artiste comme émissaire d'une humanité haïtienne - Katherine SmithLUX, spectacle d'image et photographie en studio. Une tentative d'interprétation des scènes d'Haïti de la succession de Leonore Mau - Christopher A. NixonNH2K (tiré deVenetian Series), 2001 - Jean-Ulrick DésertCalendrierLa frontière ténue entre amour et peur : regleman et (dés-) ordre du rituel vaudou dans les hotographies de Leonore Mau - Kyrah Malika DanielsOut of Focus: Un rapport de recherche - Dora Imhof, U5Rasanblaj DaDoll Partition de performance - Gina Athena UlysseRemerciementsGlossaireIntervenant·e·sBibliographie sélectiveRéférences du calendrier / Crédits photographiquesCrédits photographiquesMentions légales