Libé: For our readers who would like to know you better, can you briefly introduce yourself?
Aurore Vinot: My name is Aurore Vinot, photojournalist and author-photographer. In addition to my documentary work, I regularly exhibit artistic and personal series, mainly focused on portraiture. I work a lot on the African continent: I lived in South Africa, made documentaries in Mozambique, and last year I exhibited a series on women fishermen in Rabat, in the INEX gallery. More recently, I was at the Dakar Biennale, where I presented a series created in Bamako, Mali.
Originally, I came from the written press. Then, I left for South Africa to devote myself to photography, a passion that I have always carried within me. I also wrote columns and took portraits.
This is not your first visit to Morocco, what is your view on art in Morocco and its evolution in recent years?
I am fascinated by the vitality and diversity of the Moroccan artistic scene. There is incredible excitement, whether in Rabat, Casablanca or here in Settat, where I discovered very talented painters and sculptors. It is a captivating mix of traditions, with a very rich artistic heritage, and innovation, thanks to young artists exploring new materials and techniques.
During my visit, I was able to observe the installations and the scenography of the festival. I was impressed by the work of the visual artists, especially those who experiment with original materials and suspended creations. It’s a great opportunity to discover new talents.
You have worked in Senegal, Mozambique, South Africa and Morocco. Do you see artistic links between these countries? Is there a common denominator?
Each country has its artistic particularities. Last year, I discovered the young Moroccan photographic scene during the Tangier Photo Meetings. In South Africa, there is also a very dynamic approach to contemporary photography. What connects these countries is the richness and plurality of artistic perspectives.
At FIAPS, I noticed a nice balance between experienced masters, who have a lot to pass on, and a new generation full of creativity. This intergenerational exchange is particularly enriching.
How did you manage to combine journalism and art?
Photography has always fascinated me, but I didn’t plan to make a career out of it. After my debut in the press, I was offered my first exhibition, then other festivals followed. It happened a bit by chance. Today, I try to combine these two approaches, journalistic and artistic, to explore different forms of expression.
-How do you perceive the difference between the understanding of art in Europe and in Africa?
There are many realities in Africa. In South Africa, for example, there is a structured market with very economically influential galleries. In Algeria, I discovered an impressive tradition of photojournalism. In Morocco, important galleries carry artists internationally.
In Europe, and particularly in France, events like Paris Photo offer exceptional platforms for discovering the art market. But it is difficult to summarize these differences in a few words, as the contexts are so varied.
Are you planning an upcoming exhibition in Morocco?
Not for now. I have just returned from the Dakar Biennale, and I will soon be leaving for reporting. But it is not excluded: I have several new series, and perhaps an exhibition in Dakar next year will see the light of day, linked to my recent work on fisherwomen.
Do you have any upcoming documentary projects?
Yes, I will probably go to the Central African Republic to cover conflict zones in a photojournalistic approach. My goal is to continue to document strong human realities.
Comments collected by Alain Bouithy
