نندارتون
افغانستان راتلونکی ته کتنه: محرک خیالونه

with works by Shiraz Fazli and Qeas Pirzad, Parwana Haydar and the AVAH Collective

جمعه, 30.06.2023 –
۱شنبه, 02.07.2023
Kunsthaus ACUD

د هنرمندانو کار یو تاریخی مګر د خوب په څیر کلتوري جمالیات په غاړه لری، چي دواړه مخکینی او شاته لید ته اجازه ورکوي. د دود او بغاوت تر مینځ په دې کړکیچ کي ، چي د یوی مرجع او ماسک په توګه کار کوي، نوی آزاد شوی حقایق د واکمنی څخه بهر رامینځته کیږی، لکه کلتوری داستانونه. په ګډه هنرمندان هڅه کوي، چي د راتلونکی لپاره یو ډله ایز لید را مینځته کړی، چي د افغان مهاجرینو له تجربو څخه  تر لاسه کیږی.
 
 

Works

Shiraz Fazli: تکھ تکھ تکھ می شوم (I break apart) 
 
Traditional Afghan garments are pieced together from patterned fabrics, mirrors, beadwork, and emboridery. They may also be adorned with hanging, beaded talismans called gul-e-peran and as such offer the body both protection both physically and psychically. تکھ تکھ تکھ می شوم (I break apart) is a tapestry comprised of an assortment of found materials. Pieces of fabric, rice bags, ragdolls, paintings, used clothing, mirrors, beads, and sequins come together to form a collage that resembles traditional Afghan textile work and reflects on the hybrid nature of Afghan cultural artforms.

Qeas Pirzad: The daybreak of utopia 
  
When the rainfall washes away the last cries of despair 
And the sun rays dry the last tears of sorrow 
  
The smiles emerge from each corner of the land 
From the westernmost point of Herat to the farthest east of Badakhshan 
Lighting up the dark and forgotten homes 
  
Calling the forsaken ones to return 
Because the sun is rising in our home 

Parwana Haydar - Foot ache 

Foot ache is a video collage of an AI generated young Afghan girl dancing on rubble, to the traditional frame drum daira, in the changing background of empty opulent Kabul wedding halls. In the glittery, kitsch, hi-tech wedding halls of Kabul, Afghanistan exists an isolated form of liberation for the lucky few who are invited to wedding ceremonies under the current Taliban regime. Women wear their finest dresses in multiple colors of chiffon and twirl to the rhythm of cassettes and classical Afghan music. Afghan futurism may exist in this temporary space of dance and joy, whilst outside on Kabul’s streets remains a dystopia for many women who are forced to wear shapeless gowns and most recently are banned from Universities.

Artists:

Shiraz Fazli is a Brooklyn-based artist and educator. Her work combines textiles with painting to create

© Shiraz Fazli

garments, dolls and tapestries that are a perversion of Afghan motifs, language and traditions. She foregrounds humour and absurdity resulting from growing up with an Afghan background in the imperial heartland, and challenges prevailing notions of Afghan victimhood. As an artist and educator, she uses Afghanistan as a starting point for artistic and historical investigations. In 2019, Fazli graduated from Bard College with a degree in Middle Eastern Studies and has exhibited her art at Living Gallery, ReflectSpace Gallery and The Documentarian Mag, among others.

 

© Qeas Pirzad

 Qeas Pirzad's art critically engages with the creation of personalised realities. As a descendant of Afghan immigrants in the Netherlands, Pirzad has quickly acquired the ability to occupy the contrasting lifeworlds within and outside his homeland. Many of his works reflect the artist's revelation to define his own reality. In his art, Pirzad reflects and deconstructs societal and familial influences on his existence. In doing so, he expresses himself as a multidisciplinary artist through various media such as oil on canvas, digital collage, sculpture, poetry and performance art.  The dream-like compositions of Pirzad's projects invite viewers on a visual journey that knows no boundaries. He hopes that this journey will be a catalyst for the viewer's own awakening.

© Parwana Haydar

Parwana Haydar is a London based filmmaker and curator. She holds a BA honors in Social Anthropology and Persian from SOAS, University of London. She is a graduate of Other Cinemas film school and of South London Gallery's Re:Creative film school. Her artistic practice is driven by the personal, shadowed by structural and global issues of displacement, war and grief. Her films and installations explore the gaps between realism, surrealism and the speculative. She is a recent fellow of the German Hanse Wissenschaftskolleg artist in residence programme where she was commissioned to write and direct a film for the City Gallery in Delmenhorst, responding to the topic of Childhood Memories. She is a member of the Afghan Visual Arts and History Collective (AVAH) an independent curatorial research collective and multimedia platform for artists from Afghanistan and its diaspora. Her video installation Internet Archiving developed collaboratively with other members of AVAH Collective is a video collage of the digital archival culture of Afghanistan which comments on the gaping holes of Afghanistan's war torn history. The collage enables us to think critically of the material reality of our present culture and narrative. Internet Archiving was exhibited at Fotofestiwal in Lodz, Poland from the 15th-18th of June.

AVAH (Afghan Visual Arts & History) is an independent and global research collective and multimedia platform. It arose due to the lack of available information and long-term initiatives on the historical and contemporary practices originating in or related to Afghanistan. By collecting art histories, contextualizing practices and creating a professional network, AVAH aims to create important resources that contribute to the understanding of the past and equip the current generation of artists and cultural workers at home and abroad.