Akinbode Akinbiyi, Berlin, Kreuzberg, 2018. Courtesy: the artist.
Cities are often described in terms of an ineffable ‘buzz’—a busyness comparable to a hive, whirring and rattling with activity. As Covid-19 takes hold and clears our city streets worldwide of people, that buzz, previously taken for granted, is quickly slipping into memory. Seen through the lens of current events, the street photography of Berlin-based image-maker Akinbode Akinbiyi assumes a poignant sheen: people moving freely in crowds, going about their daily tasks, or even the actions of the photographer himself, traversing the streets independently without the reality of lockdown or quarantine that is becoming the new norm for many a city dweller.
In light of the spread of coronavirus, Akinbiyi’s exhibition at Berlin’s Gropius Bau— Six Songs, Swirling Gracefully in the Taut Air— will be closed until 19 April. SLEEK caught up with the photographer prior to the closure to learn more about his black and white photographs that document the collective fizz of life in cities as diverse as Berlin (in particular the Afro-German communities in the city, especially around the neighbourhood of Wedding), Lagos, Johannesburg, Chicago and Bamako. Through the foregrounding of collage-like signage and figures in motion—as well as a reflexive approach to the act of photographing— Akinbiyi’s images detail the miscellany of amorphous sites and pursuits that we know and love our cities and collective spaces for. Here are five takeaways from our conversation.
On Berlin’s street signage
Berlin, Neukölln , 2018. Courtesy: the artist.
“In years past, I’d walk from Kreuzberg to Neukölln sometimes, but now the city has changed visually. There’s more colour and there’s more happening especially in gastronomy, and also the adverts for gastronomy. But other things as well—it’s now vegan, a lot of Vietnamese signs. There’s always a sign. What people don’t know is that often they don’t want to engage with it. I engage with it.”
On the changing nature of Bar Beach in Lagos, Nigeria
Bar Beach, Victoria Island, Lagos, 2006. From the series Sea Never Dry. Courtesy: the artist
“It’s called Bar Beach because there was a bar that protected the beach from erosion from the Atlantic ocean. The bar is long gone. Now they are actually building a city down here called Eco-Atlantic City. A smart city for the wealthy of Lagos. So, this beach is basically now a building site and it’s no longer accessible. But in those days, which was about 10-15 years ago, many people used to come here. And this particular lady, she’s a religious believer—a Christian. And she’s praying and walking up and down the beach. I’m not sure whether she was holding the Bible or a hymnal book. And these seats are for visitors to sit on but they have to pay for it. Many European people sit on the beach chairs, enjoying the breeze and the sounds of the sea.”
On dressing up for religious ceremonies
Bar Beach, Victoria Island, Lagos, 2006. From the series Sea Never Dry. Courtesy: the artist
“Especially on the weekend people dress up. They go to church and then there’s this culture of dressing up and being out in the daytime, people might still go to work, to go get new shoes, or dresses and things like that. It’s crazy. But it’s changing as well.
They’re Pentecostal. It’s quite a big movement, different types of Pentecostal beliefs in the Christian community, but Islam also has equivalents—they don’t use the beach so much. They are also very active. A kind of religious fervor.”
On downtown Jo’Burg
Braamfontaine, Johannesburg, 2013. From the series Adama in Wonderland. Courtesy: the artist.
“It’s the most western city on the continent, in my experience…It’s a really changing place around there. That’s one thing with cities. They’re constantly changing.
This is the constitutional building. I think it might have been used as a fortress, or it might have been a prison. They wrote the new constitution here. It’s in downtown Jo’Burg. It’s a very interesting city. It’s not too big. Maybe 5 or 6 million people, but criminality is high. The tension is sometimes very palpable.”
On taking black and white photographs
Berlin, Tiergarten, Moabit, 2016. Courtesy: the artist.
“I do sometimes take colour photographs usually for commercial purposes. I’ve done some personal work in colour as well. But my colours are more black and white. With grey as well.
I mean [the exhibition] is literally a piece of me. Hopefully, I open up and understand what photography is about: cities and spaces. I find it very interesting how people take to black and white photography. There seems to be a need to engage with it—it makes people again aware of how powerful these things are. Not just the power but the importance.”
Six Songs, Swirling Gracefully in the Taut Air at Gropius Bau remains closed until 19 April.
All photographs by and courtesy of Akinbode Akinbiyi.