TITLE_NAME :
04/10/2026 - 05/24/2026
Maison Européenne de la Photographie, Paris
5/7, rue de Fourcy
75004 Paris
A writer, filmmaker, photographer, and journalist, Johny Pitts (born in 1987; lives and works in London) has developed a major body of work around Afropean identity, a concept describing the experience of being Black and European. From London to Lisbon, via Brussels and Berlin, he encounters Afrodescendant communities and brings back images of formal and documentary power.
Black Bricolage brings together photographs, notebooks and documents that bear witness to Black experiences in Europe and beyond, between 2004 and 2024. From Paris to Brussels, Amsterdam, Berlin, Stockholm, Moscow,Lisbon, Rome, Marseille and Saint-Paul-de-Vence, to newer work that includes images made in Freetown, Salvador Bahia and the US deep South, Johny Pitts illuminates Afro-European and Afro-diaspora realities that are often made invisible or poorly represented. His approach refuses both nostalgia and stereotype, but rather favours the ordinary: informal conversations, cafés, community centres, daily commutes, living spaces.
Maison Européenne de la Photographie, Paris
5/7, rue de Fourcy
75004 Paris
A writer, filmmaker, photographer, and journalist, Johny Pitts (born in 1987; lives and works in London) has developed a major body of work around Afropean identity, a concept describing the experience of being Black and European. From London to Lisbon, via Brussels and Berlin, he encounters Afrodescendant communities and brings back images of formal and documentary power.
Black Bricolage brings together photographs, notebooks and documents that bear witness to Black experiences in Europe and beyond, between 2004 and 2024. From Paris to Brussels, Amsterdam, Berlin, Stockholm, Moscow,Lisbon, Rome, Marseille and Saint-Paul-de-Vence, to newer work that includes images made in Freetown, Salvador Bahia and the US deep South, Johny Pitts illuminates Afro-European and Afro-diaspora realities that are often made invisible or poorly represented. His approach refuses both nostalgia and stereotype, but rather favours the ordinary: informal conversations, cafés, community centres, daily commutes, living spaces.