André Liohn

André Liohn André Liohn is a Brazilian photojournalist covering social issues mainly in the Middle East, East Africa and South America.

André Liohn is an award-winning freelance photojournalist born in Botucatu, Brazil, frequently contributing to the publications Der Spiegel, L'Espresso, Time, Newsweek, Le Monde, Veja and others.

26/08/2026

Setting up the exhibition Ukraine Without Peace, in collaboration with .worldfestival

In January 2010, I went to Haiti to cover the earthquake. I had prepared myself to document a natural catastrophe: withi...
26/08/2026

In January 2010, I went to Haiti to cover the earthquake. I had prepared myself to document a natural catastrophe: within seconds, a magnitude 7.0 earthquake destroyed much of Port-au-Prince and killed an estimated 220,000 people.

When I arrived, I encountered a tragedy that had begun centuries earlier.

The earthquake shook every social class, yet the collapsing walls, failed hospitals and neighborhoods turned into burial grounds belonged overwhelmingly to the poor. The tremor lasted only seconds. The conditions that multiplied the deaths had been built over generations.

People continued to die beneath the rubble, in improvised hospitals, in camps without water and along streets crowded with the injured. Those who survived remained trapped within the same material conditions that had made the earthquake so lethal: precarious housing, absent infrastructure, institutional abandonment, hunger and social exclusion.

Haiti emerged from the only successful revolution of enslaved people to defeat a colonial power and establish an independent state. In 1804, it became the world’s first Black republic. For that victory, Haiti was isolated, threatened and forced by France in 1825 to compensate former slaveholders. The indemnity, along with the loans taken out to pay it, drained the country for generations.

My photographs expose the most brutal material consequences of that history. The earthquake appears through the bodies, the amputations, the crushed buildings and the families searching for their dead. The scale of the destruction also reveals who had been condemned to live in fragile homes, without public protection and without any means of escape.

The earth shook for a few seconds. History decided how many would die.

I began my career as a photographer in Somalia in the mid-2000s.More than a decade after the fall of Mohamed Siad Barre,...
25/08/2026

I began my career as a photographer in Somalia in the mid-2000s.

More than a decade after the fall of Mohamed Siad Barre, Mogadishu remained divided among warlords, militias and competing local powers. Around 400,000 Somalis were living as refugees abroad, while another 400,000 were displaced inside the country.

Covering the front line was impossible. Journalists could trust none of the armed groups, including those fighting alongside the new transitional government. Any journey could end in kidnapping or death.

Most of my work took place at Medina Hospital, where the war arrived every day in the bodies of the wounded. The hospital was run by young doctors and by Dr. Mohammed Yussuf, a hero who kept it functioning amid the destruction.

In 2006, the Islamic Courts Union defeated Mogadishu’s main warlords. Months later, Ethiopian troops supported by the George W. Bush administration drove them from the capital. Al-Shabaab emerged from the Courts’ radical armed wing and grew into one of Africa’s most violent jihadist organizations.

At the time, the world’s cameras were focused on Iraq and Afghanistan. Few people were watching Somalia.

It was at Medina Hospital, alongside those young doctors and Dr. Yussuf, that I learned what it meant to photograph a war. These images mark the beginning of my life as a photographer.

20/08/2026

A new show is coming soon, examining and problematizing Russia’s ongoing invasion of Ukraine. worldfestival
Trondheim 24/08 - 18/09
Krigsseilerplassen

17/08/2026

A personal reflection on the intersection of journalism, friendship, and the ongoing crisis in Gaza. For years, I maintained deep bonds with both Israeli and Palestinian colleagues, believing in the possibility of peace and shared values. However, the current reality has forced a painful reckoning.

The concept of journalistic neutrality is failing. When neutrality serves to obscure injustice or a genocide, it becomes a tool for the criminal. We are witnessing a systemic lack of access to Gaza and a disturbing silence from those who should be speaking out against extremist rhetoric and the indiscriminate loss of life.

Silence is not a neutral act; it is a choice. I have lost friends and professional connections because I refuse to ignore what is happening. To those who remain quiet in the face of these atrocities: the time for private concern has passed. Public accountability is the only path forward for our shared humanity.

“Kramatorsk Awaits the Siege” - English version of my latest reporrt from Ukraine for Klassekampen
25/07/2026

“Kramatorsk Awaits the Siege” - English version of my latest reporrt from Ukraine for Klassekampen

“A morte do fotógrafo autônomo”. Um obituário que escrevi para Sebastião Salgado no ano passado e que, naquele momento,...
24/07/2026

“A morte do fotógrafo autônomo”. Um obituário que escrevi para Sebastião Salgado no ano passado e que, naquele momento, considerei crítico demais para publicar. Link na bio.

Meta and Instagram are once again deleting the images I share from journalists and Palestinian civilians in Gaza being k...
21/07/2026

Meta and Instagram are once again deleting the images I share from journalists and Palestinian civilians in Gaza being killed by the State of Israel. This time, the platform claims that by sharing images of children killed by the Israeli fascist regime, I posted child sexual abuse material. That is an extremely serious, grotesque and disgusting accusation. It fills me with revulsion.

Israel is killing children. If there is any violence here that is inhuman, monstrous, vile and cowardly, it is the violence Israel inflicts by killing children every single day.

Journalists, meanwhile, seem to have grown accustomed to it. Who still hears about groups of journalists organizing themselves, tired of waiting for permission to enter Gaza? That has simply disappeared.

Meta is complicit with this genocide. By censoring this kind of documentation, it contributes to a world in which fewer and fewer records of what is happening in Gaza can be seen. It is complicit in the silence imposed on the victims and in the erasure of the memory of what is happening there.

Meta and Instagram are once again deleting the images I share from journalists and Palestinian civilians in Gaza being k...
21/07/2026

Meta and Instagram are once again deleting the images I share from journalists and Palestinian civilians in Gaza being killed by the State of Israel. This time, the platform claims that by sharing images of children killed by the Israeli fascist regime, I posted child sexual abuse material. That is an extremely serious, grotesque and disgusting accusation. It fills me with revulsion.

Israel is killing children. If there is any violence here that is inhuman, monstrous, vile and cowardly, it is the violence Israel inflicts by killing children every single day.

Journalists, meanwhile, seem to have grown accustomed to it. Who still hears about groups of journalists organizing themselves, tired of waiting for permission to enter Gaza? That has simply disappeared.

Meta is complicit in this genocide. By censoring this kind of documentation, it contributes to a world in which fewer and fewer records of what is happening in Gaza can be seen. It is complicit in the silence imposed on the victims and in the erasure of the memory of what is happening there.

Por favor, não assistam ao filme “Você Não É um Soldado” em plataformas como Amazon Prime, HBO ou qualquer outra que ten...
14/07/2026

Por favor, não assistam ao filme “Você Não É um Soldado” em plataformas como Amazon Prime, HBO ou qualquer outra que tenha firmado acordo com a produtora do filme, a ELO Company, uma empresa de sionistas com a qual sinto vergonha e culpa por um dia ter colaborado.

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