Ianne Kenfack Kitio is a Swiss-Cameroonian visual artist and photographer based between Geneva and Abidjan. She graduated with a BA in Fine Arts from the Zurich University of the Arts (ZHdK) in 2023.
Since beginning her photographic practice in 2015, she has developed a body of work that explores image-making and how visual representation shapes collective perceptions. Combining photography, self-portraiture and staged imagery, her practice examines the representation of Black bodies, with a particular focus on Black femininity within contemporary visual culture.
Through research-based projects, she investigates questions of visibility and autonomy while examining how images contribute to the construction of social and cultural narratives. Working primarily with analogue photography, she approaches the medium as both a material and conceptual process. Her practice often incorporates collaboration, performance and self-representation as strategies for challenging dominant narratives and creating space for alternative perspectives. She is the recipient of the Kiefer Hablitzel | Göhner Art Prize 2025.
https://www.instagram.com/ia2ne/
","externallinks":[]}],"isupcoming":true,"iscurrent":true,"duration":"durational","displayartistsname":false,"startdate":1788472800,"enddate":1791583200,"category":"Vitrines","smalltext":"","description":"Post Tenebras Lux continues Ianne's exploration of representations of Black femininity and the processes through which identities are constructed. With this new work, she shifts her focus to the nature of the image itself, approaching it as a space of transformation rather than mere representation.
Presented at Halle Nord, this cyanotype photograph resonates with the venue's glass architecture, conceived as a space of circulation and transition. This setting echoes the artist's understanding of identity as a process of becoming, shaped through thresholds and continuous transformation. Her own body becomes the site where intimate experience, social projection and metamorphosis intersect, without ever resolving into a fixed self-portrait or a stable representation of femininity.
The use of cyanotype responds to both formal and conceptual concerns. Its deep blue recalls the indigo of Ndop, the ceremonial textile of the Cameroonian Grassfields to which her Bamileke heritage is connected. In both processes, the image gradually emerges on a prepared surface, mirroring an identity that is constantly unfolding. Borrowed from Geneva's motto, Post Tenebras Lux (\"After darkness, light\") also refers to the cyanotype process itself, in which the image appears only through exposure to light.
After experimenting with silkscreen, textiles and multiple printing surfaces, the artist returns here to a single framed photograph. In doing so, the work reflects on what constitutes an image: less its ability to faithfully reproduce reality than the process through which it comes into being.
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