British Museum blog

Afghanistan Now: Photographs by Fardin Waezi

Constance Wyndham, Assistant Exhibition Curator

Last week we installed Afghanistan Now: Photographs by Fardin Waezi, a display of photographs by this talented Afghan photographer, in the Clore Foyers underneath the Great Court in the British Museum. This display is part of a wider programme of events surrounding the exhibition Afghanistan: Crossroads of the Ancient World.

Fardin’s images reveal many sides of life in Afghanistan that are rarely seen, from an all girl football team to a fishmonger showing off his catch in the market. Photography is the most developed of the visual arts in Afghanistan. The relentless spotlight of the media on Afghanistan has created great opportunities for photographers and film makers to publish their work internationally. Afghan photographers often have the best access to people and news stories, and can travel anonymously. This constant demand for pictures of a country in transition has meant that photography and film have both flourished there since 2001.

A fishmonger, Ahmed Satar, displays his wares to attract customers in Kote Sangi district, Kabul, 2010 © Fardin Waezi

Fardin took his first photograph in his father’s studio in Kabul when he was seven years old. His father used a traditional box camera to photograph people in the street, and under the Taliban Fardin worked with him as a street photographer. During this time, the photography of people was banned and as a keen photographer, Fardin was arrested several times for ‘photography related crimes’. After the fall of the Taliban in 2001, Fardin joined the newly established AINA (Afghan Media and Culture Centre) in Kabul and studied photojournalism. Since then, his work has been published internationally by Der Spiegel, Le Point, Le Nouvel Observateur, Le Figaro, The New York Times, Le Monde, Associated Press and CNN. Fardin runs photojournalism courses for the next generation of Afghan photographers at AINA and he is currently the official photographer for UNAMA (United Nations Assistance Mission in Afghanistan).

The Jangalak industrial complex was known as one of the country's largest factories until the civil war tore it apart. Today, due to lack of public space in Kabul, children play here are school and students study among the ruins. Kabul 2010. © Fardin Waezi

Creating an independent media is an important part of the reconstruction effort in Afghanistan. Reza Deghati, an Iranian photographer, set up a photojournalism department in 2001 for the newly established AINA (Afghan Media and Culture Centre) in Kabul. AINA provides training for young Afghan photographers who are now gaining reputations as some of Afghanistan’s best photographers, including Fardin Waezi, Wakil Kohsar, Farzana Wahidy, Massoud Hosseini, and Gulbuddin Elham.

Many internationally renowned photographers and photojournalists who have visited Afghanistan have run workshops and training programmes for the country’s aspiring photographers. In 2010, British photographer Simon Norfolk ran workshops in Kabul for Fardin Waezi and other photographers. Their work was shown in Views of Kabul (6 – 28 March, 2011) an exhibition of photography at the Queen’s Palace, Bagh e Babur, Kabul.

Afghanistan Now: Photographs by Fardin Waezi is on display until 10 June 2011 and is part of the World Collections Programme which aims to establish partnerships across the world and increase access to the UK collections and expertise.

Filed under: Afghanistan: Crossroads of the Ancient World, Exhibitions

3 Responses - Comments are closed.

  1. Dear all who take care of such artists from 3.world,

    it is a good work, wishig him more success, and wishing myself getting such a chance to exibit my photographers from palestinien refugeecamps in libanon, syria and…some photographers are on my website.
    with best regards
    mahmoud dabdoub

    Like

  2. margaret collins says:

    Much more interested in the fish (Zoastrian influences perhaps) and the horn goblet and Roman bowl with ridges. Shame no postcards of these.
    Does anyone have the wording of the philosopher’s statement in the Greek city ? Exhibition so crowded no time or space to stand and stare or take notes. Personally more interested in the daily life items ( why no details of the mirrors in the graves found?) than in the ivories or gold.

    Like

  3. Julia Sandison says:

    Visited the exhibition this morning – a Tuesday – and was lucky enough to find it not too crowded. However as so often happens at the BM, the shop and its related products proved a real disappointment: there were only 5 or possibly 6 postcards and nearly all of gold items whereas I’d lost my heart to the delicate glass bowl with handles and the beautiful ceremonial plate depicting Cybele the Greek goddess of nature. I frequently find that the BM has failed to recognise that gold is not everyone’s choice. Fortunately the catalogue had been reduced from £25 (a price I cannot afford) to £15 ( a price I can just about manage as I’m a pensioner). However all that aside (and I KNOW the BM will continue to disappoint in this area), the exhibition was well worth the cost of the train fare to London and the entry, though the catalogue – spectacular – will leave me short on food this week!

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,340 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt This week we’re highlighting some of the incredible clocks and watches on display in the Museum. Mechanical clocks first appeared in Europe at some time between 1200 and 1300. Their introduction coincided with a growing need to regulate the times of Christian prayer in the monasteries. Telling the time with a sundial was especially difficult in western Europe with its unreliable weather. From the end of the 13th century, clocks were being installed in cathedrals, abbeys and churches all around Europe.

The design of turret clocks (public clocks) changed little over the following three centuries and this particular example, made around 1600, has similar characteristics to clocks made for churches in the medieval period. The maker of this clock was Leonard Tenant, one of the most prolific makers of church clocks in the first half of the 17th century. The clock was installed in Cassiobury Park, a country house near Watford.

See this incredible clock in Rooms 38-39 
#clocks #watches #horology
Follow

Get every new post delivered to your Inbox.

Join 16,340 other followers

%d bloggers like this: