Triangles of Views

Triangles of Views
Triangles of Views
Triangles of Views
Triangles of Views
Triangles of Views

Triangles of Views

Triangle of Views, published by La Chambre Claire, brings together two long-term documentary photo projects by Fethi Sahraoui: Stadiumphilia and Escaping the Heatwave. These projects, started in 2015 and 2016, explore distinct yet connected aspects of Algerian life. Sahraoui, along with Youcef and Zohor Krache, is part of Collective 220, a group dedicated to breaking free from stereotypical representations of Algeria, such as the veil, religious extremism, and underground scenes.

Stadiumphilia captures the male collective experience in Algerian football stadiums, while Escaping the Heatwave follows the same group during the hottest months in western Algerian cities, Mascara and Relizane, as they head to the beaches near Oran. Together, these works offer a layered view of Algerian social and cultural life, moving beyond clichés.

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Closed, Triangle of Views forms an equilateral triangle. Open, it is roughly the
size of two outstretched hands, placed next to one another, palms facing up.
Published by La Chambre Claire, founded by Youcef and Zohor Krache in
2018, it comprises two long-term documentary photo projects by Fethi
Sahraoui: Stadiumphilia and Escaping the Heatwave, began in 2015 and 2016
respectively. Sahraoui and Krache belong to Collective 220, a group of
photographers who first congregated in room 220 of the Albert the First Hotel
in Algiers i n 2015 to discuss the need to create and circulate representations
of Algeria that escaped stereotypes: the veil, the Kabyle, religious extremism,
the migrant, and so-called “underground scenes.

Triangle of Views pairs two related bodies of work: Stadiumphilia focuses on
the male collective experience of time and space in Algerian football stadiums,
while Escaping the Heatwave chronicles the same group in the western
Algerian cities of Mascara and Relizane during the hottest period of the year as
they make their way to the beaches near Oran.

AN EXCERPT FROM THE INTRODUCTION BY NATASHA MARIE LLORENS

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