Gender – Domination – Visuality

Pierre Bourdieu's sociological view

Black and white photo of a street. We are looking at a wall of houses with stores. Women are crossing the street beneath the large lettering. Two of them are completely covered in white fabric, apart from their eyes.
Pierre Bourdieu, Bab El Qued, Algiers, April 1959, N_037_176 Photo archive Pierre Bourdieu, Images d'Algérie, 1957 - 1961 © Pierre Bourdieu / Fondation Bourdieu.

Die Ausstellung zeigt thematisch ausgewählte Fotografien aus dem Nachlass des französischen Soziologen Pierre Bourdieu, die nach seiner Aussage seine wichtigsten theoretischen Konzepte visualisierten. Bourdieu is one of the most influential voices in international sociology of the 20th century. His major works, such as The Subtle Differences (1979) and The Misery of the World (1997), are widely received. However, Bourdieu’s early ethnographic research in Algeria between 1957 and 1961, which was conducted during the Algerian War of Independence (1954-1962) under French colonial rule, is less well known. Here, his camera and the view through the viewfinder accompany him at every turn in his diverse empirical studies.

In hundreds of photographs, he captured the traces of a traditional way of life destroyed by colonial violence and the consequences of the uprooting caused by the brutal forced resettlement of large sections of the population. Bourdieu’s sociological perspective focused in particular on how gender-specific everyday practices and role models manifest themselves in different social contexts – for example at work or in social activities in private and public spaces. These early observations of physical and social behaviors later became an important source of inspiration for his habitus theory and the study Die männliche Herrschaft. The exhibition therefore works with a systematic combination of image and text to make this connection clearly visible.

The exhibition is complemented by the video work created in 2024 for the Centre Pompidou in Paris by the French-Algerian artist Katia Kameli (*1973). The film was made on the occasion of the presentation of Pierre Bourdieu’s Algeria paintings there and expands on them with a contemporary cinematic reflection. In her documentary work “L’Enquête Bourdieu. Le Ricochet des Images” (“The Bourdieu Investigation. The Ricochet of Images”, OmU English), Kameli follows Bourdieu’s traces in Algeria and opens up a new, audiovisual perspective on his photographic and sociological work for the exhibition.

On 19. and November 20, the first Bourdieu Lectures of Bielefeld University will take place in the Kunsthalle Bielefeld. They form an annual symposium series organized and hosted in close cooperation with the University of Bielefeld, Zeppelin University (Friedrichshafen), the Freiburg University of Education and the Fondation Pierre Bourdieu.

Details and registration can be found on the Fondation Bourdieu website.

More Informationen about life and work of Pierre Bourdieu on the website of Fondation Bourdieu.

On the left, three organic semi-circular shapes in yellow, red and blue. Then to the right the lettering in a narrow sans serif font.
On the left, in a medium shade of blue, a shape reminiscent of the outline of a cube balancing on a side edge. To the right, the name in sans serif script. Below this, in thinner print, is the name in French and English.
Logo_Uni
The university name in a thick sans serif font. Below it, in thinner print, slightly shifted to the right: between economy culture politics.
Schwarzes Textlogo der Akademie der bildenden Künste Wien auf weißem Hintergrund.
Logo_CA_Zentriert

Gallerie

A white wall in the art gallery. On it are grouped larger framed and smaller unframed black-and-white photographs. At the top left is the text Colonial Destruction and Displacement.
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer
A slightly oblique view into an elongated exhibition space. Larger and smaller black-and-white photographs are grouped on the walls, and on one wall there is a wooden element with eight boxes. In front of it, there is a stool and a table, a bench, and a display case with books under glass. At the top left of the wall is the text Ungleichzeitigkeiten einer erzwungenen Moderne (Asynchronies of a Forced Modernity)
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer
Part of a white wall. On it are grouped six large framed and twelve small unframed black-and-white photographs, along with three pieces of paper with printed text.
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer
View of the corner of an exhibition room. Several large and small black-and-white photographs are grouped together. On the left is a small transparent acrylic display case with an old camera. On the right is an introductory text and wallpaper depicting a hilly landscape with several people.
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer
View of the projection screen in a lecture hall. On the screen in the picture are contact prints of square photos on a table, with two hands cropped into the picture below. The photos show Pierre Bourdieu
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer
View from above of a table display case with used books and a magazine by Pierre Bourdieu.
Gender - Domination - Visuality. Pierre Bourdieu's sociological view. Installation view. Photo: Philipp Ottendörfer