African photography in the spotlight at Tate Modern

In Aida Muluneh's series "Water Life," the artist looks at the scarcity of water in Ethiopia. It is often the task of women to fetch water for the household, which takes up a lot of their time, hindering their progress. Avoiding stereotypical representations of women in her portraits, Muluneh uses bright red and blue — significant colors in African tradition — and emphasizes female strength.

Maimouna Guerresi, who converted from Christianity to Islam, examines the role of women in society in her works. In this polyptych, four young women are gathered around a long table. They appear distracted, almost as if they are turning away from the man reading. The objects lying on the table, a canister and a cartridge case, are unsettling.

French photographer Francois-Xavier Gbre's photos show historical details such as frescoes and sites in a state of decay. Gbre, who lives in Bamako, Mali, says he's interested in "stories and traces of a forgotten life" in his images. His works show demographic growth and the transformation of post-industrial cities.

Lebohang Kganye transcends the boundaries of space and time with her project "Ke Lefa Laka: Her-story," from which the above image is taken. In some of her works, Kganye copies herself into old images wearing her mother's outfits, creating a bridge between the past and the present and tying in with traditions.

US-born, Nigerian-based artist Wura-Natasha Ogunji explores the presence of women in public space through video installations, images and performances. In this performance in Lagos, she also deals with the theme of the arduous transport of water, combined with references to the traditional egungun masquerades reserved for men.

Mario Macilau documents the consequences of global consumption in a series called "The Profit Corner." He uses images of the Hulene dump in his hometown Maputo, the capital of Mozambique. Many people work there as waste pickers. The burning of electrical appliances disposed there are an environmental and health hazard.

Born in Ethiopia and now living in Australia, artist Atong Atem uses her family background to tell the stories of migrants from the African diaspora in her photos. Her work is influenced by traditional studio photography: proud protagonists against colorful, sometimes makeshift backdrops.

The Zimbabwean photographer Kudzanai Chiurai depicts the long arm of colonialism in his works. Even nations that gained independence in the 1950s and 1960s are still under the influence of colonial powers today. While men are usually portrayed as liberators in the anti-colonial struggle, Chiruai deliberately places women at the center.

In his series "Tipo Passe" (Passport), photojournalist Edson Chagas shows portraits of people wearing traditional masks and modern clothing. The staging against a white background refers to passport photos, but the masks do not allow any conclusions to be drawn about the identity of the individual. Chagas thus also criticizes museums presentation of masks as mere artifacts.

Ruth Ginika Ossai received a camera from her mother when she was a teenager. After moving from Nigeria to England, she wanted to capture impressions of her homeland. Her photographs use the aesthetics of West African studio photographers, and her backdrops are inspired by the visual language of Nollywood films.