honorable mention
Kim Badawi france
title
Os Mascarados
Rich with an overlapping traditions and cross appropriation basic indigenous and Afro-European roots, Brazil is a melting pot, socially, culturally and to me, visually. As a recurrent theme in much of my early work, destructing or recreating stereotypes, tis yet another attempt to visually reconstruct the images of hybrid cultures.
Manifested by absence of all characteristics such gender, race or social class. Usually speaking in high or low pitched voices, and above all, showing no skin or tone whatsoever. Here, a woman can be a man; a man could be animal and a noble could have disguised him or herself as a slave. Anonymity was complete and the possibilities are timeless.
“Os Mascarados” is a photographic series with intent to investigate the bearing of a “mask” in communities throughout South America, beginning with Brazil.
Rich with an overlapping tradition of cross appropriation based in generally on indigenous and Afro-European cultures, Brazil is a melting pot, socially and visually.
Undeniably why Venice’ most popular celebration was brought to the New World, and later popularized by Brazil’s more popular social class, the Carnival (Mardi Gras) , much like Halloween embodies by default; sin, death; or the game of life. With the age of photography, and by today selfie-saturated norms of online representation, avatars have taken yet another depth of visual appropriation.
Selected for publication, by the Center for Documentary Studies at Duke University, Kim’s work appears in 25 Under 25: Up-and-Coming American Photographers exhibit and book.
Badawi's The Taqwacores- a history of the American Muslim punk -was released by powerHouse Books, in Spring 2009 and since then has inspired a movie of the same name. Much of Kim's work focuses on hybrid cultures, blurred borders, cross-appropriation as an attempt to shatter visual stereotypes.
While covering Arab uprisings from unique vantage points in for Le Monde in Tunisia and Egypt while Kim created an in-depth anthropological study of the first Chinese settlements in Northern Africa. Kim's photography has led him to all parts of Europe, Middle East, Northern America and now is based in South America where he continues to report while working on personal project focusing on the fusion of antique and contemporary culture.
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entry description
“Use of (the mask) allow(ed) the appropriation of the unknown, seduction, flirtation, joy and or; the or of disengagement; the dilution of thousands of identities into a one self; the farce of being the other, as well as the freedom of being: no one. " (Alves, 1804)Rich with an overlapping traditions and cross appropriation basic indigenous and Afro-European roots, Brazil is a melting pot, socially, culturally and to me, visually. As a recurrent theme in much of my early work, destructing or recreating stereotypes, tis yet another attempt to visually reconstruct the images of hybrid cultures.
Manifested by absence of all characteristics such gender, race or social class. Usually speaking in high or low pitched voices, and above all, showing no skin or tone whatsoever. Here, a woman can be a man; a man could be animal and a noble could have disguised him or herself as a slave. Anonymity was complete and the possibilities are timeless.
“Os Mascarados” is a photographic series with intent to investigate the bearing of a “mask” in communities throughout South America, beginning with Brazil.
Rich with an overlapping tradition of cross appropriation based in generally on indigenous and Afro-European cultures, Brazil is a melting pot, socially and visually.
Undeniably why Venice’ most popular celebration was brought to the New World, and later popularized by Brazil’s more popular social class, the Carnival (Mardi Gras) , much like Halloween embodies by default; sin, death; or the game of life. With the age of photography, and by today selfie-saturated norms of online representation, avatars have taken yet another depth of visual appropriation.
about the photographer
Born in Paris in 1980, Kim Badawi is American visual anthropologist of Egyptian and Slovenian background - who began his career photographing the plight of refugee families from Mississippi to Texas in the aftermath of Hurricane Katrina, in New Orleans.Selected for publication, by the Center for Documentary Studies at Duke University, Kim’s work appears in 25 Under 25: Up-and-Coming American Photographers exhibit and book.
Badawi's The Taqwacores- a history of the American Muslim punk -was released by powerHouse Books, in Spring 2009 and since then has inspired a movie of the same name. Much of Kim's work focuses on hybrid cultures, blurred borders, cross-appropriation as an attempt to shatter visual stereotypes.
While covering Arab uprisings from unique vantage points in for Le Monde in Tunisia and Egypt while Kim created an in-depth anthropological study of the first Chinese settlements in Northern Africa. Kim's photography has led him to all parts of Europe, Middle East, Northern America and now is based in South America where he continues to report while working on personal project focusing on the fusion of antique and contemporary culture.
back to gallery