From his studio in Benin, Rachidi Bissiriou captured the spirit and style of a seismic period in his country’s history
Untitled, 1968
In 1968, the west African photographer Rachidi Bissiriou set up Studio Plaisir in his hometown of Kétou in Benin, which he operated until its closure in 2004. Gloire Immortelle is Bissiriou’s first ever solo exhibition. It captures the spirit of a pivotal historical moment through picturing the lives and styles of those who lived it. Gloire Immortelle is at the David Hill Gallery, London until 29 July 2022. A book will be available through Stanley/Barker. All photos are courtesy of David Hill Gallery, Rachidi Bissiriou and Auto Portrait
Untitled, 1968
Born in 1950 in the village of Kétou, Bissiriou began photographing members of his community after Benin was finally granted independence from French rule in 1960. In 1968, he opened Studio Plaisir in Kétou at the age of 18, which he operated until 2004. After its closure, Bissiriou retired from photography to breed sheep and chickens, with an unlikely stint working in local politics
Untitled, 1974
An aura of true self-expression and a newfound freedom emanates from his figures, exemplified by this image of two young men in flares paired with precision pressed shirts
Untitled, 1974
Bissiriou inadvertently documented an intense period of seismic cultural and political shifts through his disarmingly beautiful portraits
Untitled, 1970
His innate photographic talent shines through in the delicate framing and lighting of these black and white pictures. There is something markedly contemporary about the vacant settings and the way he situates the figure within the shot
Untitled, 1980
Working with a Yashica twin-lens medium format camera, Bissiriou produced a series of portraits depicting people in their everyday clothing – some traditional and some informal – photographed as the artist found them
Untitled, 1978
At the time, cameras were largely understood as a bureaucratic tool and regarded with suspicion, thus the relaxed atmosphere Bissiriou was able to conjure is remarkable
Untitled, 1984
The images offer an insight into the diversity and beauty of west African style during the period. A fusion of traditional attire such as grand boubou, head wraps and Ankara agbadas are brought into conversation with a burgeoning westernised youth culture
Untitled, 1984
His camera often captured his subjects in a moment of quiet repose, by turns self-possessed, contemplative, and optimistic
Untitled, 1982
Bissiriou’s skill was in forging a connection with his subjects, being able to put them at ease, and allowing self-expression to shine through
Untitled, 1985
While traditional portraits from these times often showcased their subjects unsmiling and with a rigid formality, Bissiriou’s images are remarkable for their simplicity and a freshness that feels utterly contemporary
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