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Kharmohra: Art under fire in Afghanistan

By: (Edited by) Guilda Chahverdi

Werezi Extended Catalogue
Delivery in 34 days

Ksh 4,500.00

Format: Paperback / Softback

ISBN-10: 2330128304

ISBN-13: 9782330128302

Publisher: Actes Sud

Imprint: Actes Sud

Country of Manufacture: GB

Country of Publication: GB

Publication Date: Jun 30th, 2022

Print length: 144 Pages

Weight: 470 grams

Dimensions (height x width x thickness): 16.00 x 23.20 x 1.60 cms

Product Classification: Exhibition catalogues & specific collections

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The first ever survey of Afghan contemporary art—across mediums, genres and regimes

For 40 years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks and migrations. Today, artists in this country—either self-taught, having grown up under a Taliban regime that banned images, or trained formally in exile—have no heritage to negotiate and no rules to break: anything seems possible. Many of the works included here directly confront the country''s traumas—such as Latif Eshraq’s Farkhunda, which depicts the mob lynching of Farkhunda Malikzada, who was falsely accused of burning a Quran.
This innovative survey brings together photography, calligraphy, drawing, video, painting and installations by artists such as Kaveh Ayreek, Abdul Wahab Mohmand, Latif Eshraq, Asar Laiq, Kubra Khademi, M. Mahdi Hamed Hassanzada, Farzana Wahidy and Zolaykha Sherzad, among others.

For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.

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