Introduction
PhotoQuai was a groundbreaking photography biennial founded in 2007 by the Musée du Quai Branly - Jacques Chirac in Paris. It was dedicated to presenting the work of non-Western photographers whose art remained largely unseen in Europe. The biennial ran for five editions until 2015, bringing together over 200 photographers from regions including Africa, Asia, Oceania, the Americas, and the Middle East.
What made PhotoQuai unique was its public accessibility and outdoor setting. The exhibitions were presented primarily along the banks of the Seine River, directly opposite the Musée du Quai Branly, transforming the riverfront into an open-air gallery freely accessible to all visitors. This democratic approach to exhibiting photography removed traditional institutional barriers and allowed a wide audience to engage with diverse global perspectives.
The biennial's mission went beyond merely showcasing international photography; it sought to foster a dialogue between cultures and offer a platform for photographers to present their own visual narratives of their societies and experiences. By highlighting "the Elsewhere seen from Elsewhere," PhotoQuai challenged Western-centric views and exotic stereotypes, presenting authentic visions from photographers documenting their own cultures and communities.
Exhibition Format
PhotoQuai's distinctive format combined accessibility with curatorial excellence. The heart of the exhibition took place along the Seine riverbank between the Pont de l'Alma and the Passerelle Debilly bridges, creating a photographic promenade that was open 24 hours a day and free to the public. Large-format images were displayed on specially designed modular structures that protected the photographs from weather conditions while creating an engaging viewing experience.
Each edition featured approximately 40-50 photographers, with a selection process that involved international curators specializing in different geographical regions. These curators identified talented photographers whose work remained largely unknown in Europe, ensuring diversity in both artistic approaches and cultural perspectives. The exhibition was deliberately structured to break away from Western photojournalistic traditions, instead privileging artistic and cultural authenticity.
In addition to the open-air exhibition, PhotoQuai extended into other venues including the Musée du Quai Branly itself and partner institutions across Paris. These indoor exhibitions complemented the outdoor display with prints, video works, and historical photography. The biennial also organized symposiums, artist encounters, and educational workshops, creating a comprehensive platform for exchange and dialogue around global photography practices.
Curatorial Approach
Each edition of PhotoQuai was organized around a central theme that provided a conceptual framework while allowing for diverse interpretations. The inaugural 2007 exhibition explored "The World Watching the World," establishing the biennial's focus on authentic perspectives from photographers documenting their own cultures. Subsequent editions built on this foundation, developing themes that encouraged cross-cultural dialogue and challenged Western preconceptions about non-European societies.
To ensure cultural authenticity and diversity, PhotoQuai employed a unique curatorial model with a team of regional experts who selected photographers from their areas of expertise. For example, the 2015 edition was directed by Frank Kalero with six specialized curators: Claudi Carreras (Latin America), Liza Faktor (Russian Federation), Michket Krifa (Middle East), Azu Nwagbogu (Africa), Kevin WY Lee (Asia), and Louise Clements (New Interactions).
This decentralized approach to curation allowed PhotoQuai to avoid exoticizing or imposing Western aesthetic standards on non-Western photography. Instead, the biennial celebrated the diversity of photographic practices worldwide and highlighted how contemporary photographers engaged with issues of identity, cultural transformation, urbanization, environmental challenges, and social change from their own distinct perspectives.
Featured Themes Across Editions
- 2007: "The World Watching the World" - Highlighting non-Western photographers with artistic perspectives far from exotic visions and photojournalism
- 2009: Exploring cultural transformation, personal identity, and changing landscapes through documentary approaches
- 2011: "The World Is Made of Stories" - Examining narrative approaches and storytelling in global photography
- 2013: "Look at Me!" - Investigating self-representation and identity in an increasingly connected world
- 2015: "We Are Family" - Exploring community bonds, cultural identities, and collective experiences
Notable Photographers
PhotoQuai introduced European audiences to hundreds of photographers whose work was previously little known outside their home regions. The biennial provided an invaluable platform for these artists to gain international recognition and often served as a springboard for their careers in the global art world. The featured photographers worked across a wide range of styles and approaches, from documentary to conceptual, addressing diverse themes including cultural identity, urbanization, environmental issues, and social transformation.
Gohar Dashti
Known for surrealist images of everyday life in conflict zones, including couples living normal lives amidst battlefields.
Pablo López Luz
Creates large-format images documenting Mexico City's growth and impact on the surrounding landscape.
Mouna Karray
Explores identity through photography of women in their homes, then creating self-portraits in the same settings wearing their clothes.
Daesung Lee
Documents the impact of climate change, including his series on Ghoramara Island disappearing due to rising sea levels.
History & Legacy
PhotoQuai was established in 2007 as part of the Musée du Quai Branly's broader mission to promote cross-cultural dialogue and showcase non-Western arts and cultures. Founded by Anahita Ghadain Etehadieh, the Iranian art director and founder of Tehran's Silk Road Gallery, the biennial emerged during a period of increasing interest in global photography but with a distinctive focus on perspectives from regions traditionally underrepresented in European cultural institutions.
The biennial evolved significantly across its five editions, expanding its international reach and refining its curatorial approach. What began as a pioneering initiative became one of Paris's most anticipated photography events, attracting hundreds of thousands of visitors. Although the biennial was discontinued after its 2015 edition, its impact on the recognition of non-Western photography and photographers continues to resonate in the global art world.
Inaugural edition of PhotoQuai launched with the theme "The World Watching the World," establishing its focus on non-Western perspectives
Second edition expanded with special focus on Iranian photography, including complementary exhibitions on "165 Years of Iranian Photography"
Third edition adopted the theme "The World Is Made of Stories," emphasizing narrative approaches in global photography
Fourth edition explored the theme "Look at Me!" examining self-representation and identity in diverse cultures
Final edition presented "We Are Family," exploring community bonds and cultural identities across 40 photographers' work
Cancellation of PhotoQuai announced by the Musée du Quai Branly after five successful editions
Exhibition Gallery
Video Overview
Experience the atmosphere of the PhotoQuai biennial through this video highlighting the exhibition along the Seine.
Instagram Feed
Explore photography from the Musée du Quai Branly, the institution behind the PhotoQuai biennial.
Exhibition Location
The PhotoQuai biennial took place primarily along the Seine riverbank directly opposite the Musée du Quai Branly, in the area between the Pont de l'Alma and the Passerelle Debilly footbridge. Additional exhibitions were held at the museum itself and partner institutions throughout Paris.
Critical Reception
Throughout its five editions, PhotoQuai garnered significant attention from both the public and photography critics. The biennial was widely praised for its democratic approach to presenting photography and its commitment to showcasing diverse global perspectives. With hundreds of thousands of visitors attending each edition, it became one of Paris's most popular photography events, appreciated for making high-quality international photography accessible to broad audiences.
Critics particularly valued PhotoQuai's focus on presenting non-Western photographers on their own terms, avoiding the exoticization common in some international exhibitions. The biennial's outdoor format was seen as an innovative way to break down institutional barriers and engage new audiences with photography. Some reviewers noted that this approach sometimes sacrificed print quality for accessibility, as the outdoor displays required weather-resistant materials, but most agreed that the trade-off was worthwhile.
While PhotoQuai was generally well-received, some critics pointed to challenges in its curatorial approach. The broad geographical scope sometimes led to uneven representation or quality across the exhibitions. Others noted the inherent tension in a Western institution selecting and framing non-Western photography, even with the involvement of international curators. Despite these criticisms, PhotoQuai was widely acknowledged as an important contribution to diversifying the European photography landscape and bringing deserved attention to talented photographers from around the globe.