Blank

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Blank proposes a process of decolonizing the Western (or Westernized) tourist gaze, addressing the phenomenon of contemporary “tribal tourism”. Acknowledging her own role in the reproduction and persistence of this exoticized and Eurocentric imaginary, Basolí dissects and questions a personal photographic album created in 1998 after a family trip to Kenya and Tanzania, approaching the subject from a first-person perspective.

At the same time, Blank gathers a selection of Instagram hashtags from posts in which tourists pose and photograph themselves with Maasai people, revealing the persistence of stereotypes rooted in a colonial gaze. Likewise, a photograph of Kimotonge, a Maasai man from Kilimanjaro with whom the artist developed a friendship during a later trip (2017), reflects the difficulties of shedding the position of the white tourist. A selection of photographs exchanged over the years via WhatsApp between Lurdes and Kimotonge raises the question of how the Other can be represented and seen from non-ethnocentric positions.