kam

A Reversed Map of Resistance

The kam project is a reflexion on contemporary memories of resistance in Postcolonial time. The memories in question are those that oppose the weapons of resistance and knowledge to the "abyss of slavery" in the words of French writer Edouard Glissant. The Kam project takes the form of a photographic archipelago across the Atlantic and Mediterranean world, taking place in different territories of West Africa, Europe, the Caribbean and the Americas.

Resistance to slavery and colonialism is proposed here not as a photographic "subject" but as a possible reading grid to approach contemporary practices of resistance that inhabit and live from the margins. The kam project wishes to unveil the symbolic, political and historical links that connect these dissident practices, by offering us a possible photographic counter-narrative to think about the contemporary issues of modernity.

Although these practices were developed in the colonial period and "which can never be located outside of what they oppose and try to resist"[1], these practices are not, however, reduced to a merely a "passive" reaction to the system. These are indeed free and sovereign creations. The kam project wishes to show through photography how they have made it possible to (re)compose interrupted genealogies, to federate Afro-descendant communities which have produced their own forms and knowledge, complex identity constructions in which we perform memory, but also gender, class and race.

Here the photograph questions us not only about the presence of these diminished practices and stories but also about the consensus around their marginalization, sometimes, until their erasure within the dominant discourse, by asking the fundamental question of how consent is made to their oblivion. Memory and oblivion are the inverted terms of a discourse on the same past, that of slavery or colonialism. What really changes is the place from which we speak and from which we produce this discourse. This is why it seemed essential to me to also question the memory practices which, in reverse, have encouraged and encourage their invisibility, the way in which elites or dominant groups have built their relationship to the past on the "unthought" of the slavery past, colonialism and many struggles to it [2].

It is from this prism that I have built, over the years, an archipelago of memory, wishing to show the way in which these practices have participated and participate both in the construction of a counter-speech, family or collective memories of resistance, but also the (de)construction of gender race and class bias. I propose to apprehend these practices of resistance through this intersectional and queer prism which I consider the most suitable for restoring the multiple forces that cross them.

In this regard, the challenge of the kam project is political: this project wishes to show and make visible an existing network of linked, connected and interconnected narratives, which today call us to a decentering of the gaze, as a precondition for think of a new relationship to Self and to world.

In this perspective, photography wants to be a possible tool in the struggle for the emancipation of minority lives, contributing to the process of their visibility and recognition, both within the strategic field (the world of institutions and scholarly cultures) but also within alternative spaces of enunciation produced by the communities themselves.

Since 2020, I have included the kam project as part of a doctoral research at the Graduate School of Humanities (Uni Paris-Cergy – Ensapc), where I examine  the possible uses of contemporary photography to address the memories of subaltern bodies.

Nicola Lo Calzo


[1] ERIBON Didier, 2012, Réflexions sur la Question gay, Paris, Flammarion, coll. « Champs Essais », p 12.
[2] Voir la série Casta, la série Bundles of Wood et la série Binidittu au sein du projet Kam.

Press Review

Support

To date, the work in progress KAM has been founded with artist residencies, talks, exhibitions and donations. Any form of collective or individual support for the production or the diffusion of the project is truly important for the advancement of research. You can become a partner and support the KAM project in different ways. For further information, write to: contact@nicolalocalzo.com

Unesco, Fondation Fokal, Fondation zinsou, Fondation Joan Mitchell, Fonds de dotation Buchet-Ponsoye, Dominique Fiat, La Balsa Arte, Luz, Afrique in Visu, La Tête dans les Images, CPMHE, Ministère des Outre-Mer, Tropenmuseum, LightWork, Lagosphoto, Portrait(s), Region Guadeloupe, Bnf, Archivi Alinari, Vogue Italia, Internazionale, Le Monde, Lille3000, Macaal, Château des Ducs de Brétagne, Aides.

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