This is the 152nd edition of Tender Photo, a digital platform for African photography.
It is a rare sight to see anyone in the crowd looking towards the camera, or at the suitcase. There’s a hint of perplexity in the general demeanor of the woman with an umbrella, whose poise, if it can be deciphered, suggests she may be pointing to herself, to clarify the attention. Me? The gesture of an individual within a group, how the group reveals or sharpens the gesture of an individual within it: every permutation of motion in a public place is decisive, as if to say, “Don’t ever let me be lonely.”
— Emmanuel Iduma
The photograph was taken on a bright, sunny day in Lisbon at the Padrão dos Descobrimentos. I organized a photo shoot with friends and family, incorporating meaningful objects such as my grandfather's luggage and Angolan masks. These objects served as metaphors for a timeless journey, connecting personal and collective histories.
The area was bustling with people, moving and pausing in appreciation of the monument and its surroundings. The luggage was placed parallel to the monument, subtly emphasizing the absence of certain narratives in these public spaces. I observed their gestures and movements, capturing a single, intentional shot with my Minolta Srt 101 camera. Through this image, I aim to evoke personal and collective memories, questioning the sanitized narratives of these monuments and inviting a sense of accountability in these European grounds stained by violence.
This photograph will be part of an exhibition titled Presence of the Past, which opens in March 2025 in Brussels. This piece will contribute to the exhibition by opening layers of interpretation around historical sites, the erasure of unwanted pasts, and the impact of gentrification. It seeks to challenge viewers to think critically about the narratives that have been chosen to preserve and those that have been chosen to forget. We keep on repeating the same mistakes and there are no excuses for it.
My approach is very diverse, as I am fascinated by images. I can recreate visuals from a variety of formats, and generally, my interest lies in image-making processes. This includes analog photography, screen printing, cyanotype, and moving images. All of these mediums involve photography and various production processes that effectively communicate ideas. My work is deeply rooted in family archives, self-portraits, and careful observations of my surroundings. For me, photography serves as a tool to ask questions, spark conversations, and share stories that might otherwise remain untold.
I am particularly inspired by figures like Sembene Ousmane, who used cinema as a tool for activism. Similarly, I view photography as a medium for communication and reflection. It allows me to explore themes of identity, memory, and history in ways that resonate both personally and collectively. Furthermore, I perceive photography as a futuristic medium for educational purposes and historical archiving. It enables us to represent ourselves and document our radical futures—not as sanitized pieces, but as continuous reminders for the community that help keep us connected. This, I believe, is truly impactful.
— Sofia Yala
Sofia Yala (b. 1994) is an Angolan/Portuguese photographer. She holds MAs in Anthropology & Visual Cultures and in Film and Photography. Her artwork explores archival material and unexpected encounters in life, conveying storytelling through different times, textures, and layers. Her work reflects on intersectional ecosystems in our vast and intricate world. More of her work can be found on her website, Instagram and through this feature on VIST.
