Elyas Alavi : Exhibition at French Institute Kabul

Elyas Alavi is a painter and a performer.

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Here is another work :

 

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This is a work I did here in Afghanistan. It’s called ” A journey with my grandma’s scarf to her homeland” . It’s with 2 photos on the wall. In one of the photos, my grandma’s scarf is on a rock in a very snowy mountain near my grandma’s place.

She died in exile (in Iran) last year. However I put the scarf inside ice to melt in the gallery. In a way to show her soul is back to her homeland and melt there….

Portrait : Abdul Qasem Foushanji

Abul Qasem Foushanji – aka Dark Artery – born in 1987 (Afghanistan) is an Afghan freelance artist. His creates mostly Abstract artworks in mediums of painting/illustration, sound, and mixed media.

Along with his family, he spent 18 years of his life in Iran.

For about four years, during his childhood, he learned Realism painting from his Armenian master but after that he never went through any academy for arts.

He was graduated from high school in Tehran in 2004, and it was the same year that he came back to his origin, Afghanistan.

As Metal music has been a part of his life, and it was all a new life experience in India, Qasem started painting in the field of Modern Art in his second year of staying in that country (2007).

At that time his art (mostly paintings and drawings at that time) were more linked to the theme of “weakness and the failure of human body”.

After coming back from India, he continued working on paintings more concentrated, and was selected as one of Top10 artists for the 2nd Afghan Contemporary Art Prize.

Since then, his works have been on several group exhibitions in Kabul, while recently chosen to exhibit for dOCUMENTA (13) in Kassel, Germany as well as for its Kabul exhibition.

Qasem often reflects the unclean and dark aspects of life, believing “most of the people ignore such aspects, because it is not beautiful, but showing it more can help to create solutions.”

He is currently focused on creating more multimedia works. He also plays bass and writes the lyrics for Afghanistan’s only Metal band District Unknown. The artists that he is inspired by are Björk, Mogwai, Clyfford Still, and Salvador Dali.

 

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Portrait : Zarlacht Sarmastand

 

Zarlasht Sarmastand women’s rights activist born and raised in Kabul, Afghanistan. She started her television career at the age of 11 in 2006 presenting and producing radio segments for the “Powerful Youth”, a programme broadcasted at RTA (Radio Television Afghanistan) radio station. Due to her talent, later on she was invited to produce and present “Future Makers,” a TV programme funded by JICKA and broadcasted also in RTA, featuring young peace ambassadors and movers and shakers throughout the country whom were very active in their communities and working in the peace-building on the nation. In 2008, she joined the production team of “CSA: Crime Scene Afghanistan” as the youngest TV presenter and producer along with award-winner journalists Amin Hanqo and Zabiullah Arya to produce and anchor the weekly youth segment on Children and Youth’s right in Afghanistan. Funded by UNAMA, the TV programme promoted the articles of the Universal Declaration of Human Rights and the UN Convention on the Rights of the Child.

In 2011, Zarlasht was named as Afghanistan’s Youth Peace Ambassador by the Afghan National Jirga for her constant work advocating for youth’s and women’s right. Some of her latest projects include the 2013 Sound Central Music Festival for the Youth, “We Believe in Balloons” peace campaign and arts installation, “Creative Despite War” film project, among others. She is currently working in the production of a web series called “Conversations with Zarlasht” featuring interviews focusing on the artists, politicians, musicians, and citizens that are living and working in Kabul, Afghanistan. She is also applying to different university programmes and scholarships opportunities to study Human Rights and Journalism.

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Wajma, une fiancée afghane

Public Premiere  November 27th .

Réservez vos places pour la 1ère séance au MK2 Beaubourg à Paris en présence de Barmak Akram

Book your seats for the first showing at MK2 Beaubour, Paris with Barmak attendance.

Prix du Scénario Sundance Film Festival 2013 – Sélectionné dans la section film étranger pour les Oscars 2014 http://www.oscars.org/press/pressreleases/2013/20131007a.html

 

http://www.allocine.fr/video/player_gen_cmedia=19539521&cfilm=217276.html

Portrait : Zolaykha Sherzad

Zolaykha Sherzad was born in Kabul, Afghanistan where she lived until the age of ten. When the Soviets invaded in 1979, Zolaykha and her family were forced to flee and settled as political refugees in Switzerland.

Trained as an architect, Zolaykha received her Masters in Architecture from the School of Architecture at the Federal Institute of Technology.

In 2000, she founded School of Hope, a non-profit organization that has successfully rebuilt and supported primary and secondary schools in rural Afghanistan.

In 2004, she started Zarif Design (Zarif means “precious” in Farsi) to help revive the Afghan artistic culture.

Today Zarif Design employs 50 Afghan women and men who, from their homes and one workshops in the old city of Kabul, revive traditional Afghan textiles and create strikingly unique and magnificently finished jackets and coats.

 

 

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Are you ready to get your hands on beautiful, handmade clothing? Email zarif@zarifdesign.com, view the contact information or visit http://www.farandwidecollective.com/collections/jackets to purchase something now.

 

 

 

The Tepe Narenj Buddhist Monastery at Kabul

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Stupa , H 2,80m , W of the base 2,06m

 

Scientific publication by Zafar Paiman, Director of excavations. Volume 1 , Collège de France Publications

Written primarily in French and Dari but with a good summary in English.

This is the final report of the Afghan excavations at Tepe Narenj , started and entirely directed by the author.

Tepe Narenj is the name given to a rocky spur located in the Southern part of Kabul. It was entirely covered by Islamic graves when the dig begun. The ancient remains hidden under  these graves are now entirely cleared and preserved. Two nearby places could also be excavated, smaller than the main dig, but yielding impressive results. All the excavated buildings belong to the latest period of a huge mahasanghika monastery dating back to the 2nd or 3rd  c. A.D., now entirely covered by multiple layers of graves belonging to one of the most important and revered Islamic cemeteries in Kabul, where it is now impossible to conduct archaeological excavations. They were filled with colossal clay statues.
The stratigraphic analysis and the coins demonstrate that most of these buildings and statues were made after 870 A.D., i.e. at after the first Arab raids against Kabul. This volume contains the description and the fullest possible illustration of the finds (buildings, sculptures, ceramics, coins). Volume II will contain the historical and art comments.

To buy this volume :
http://www.deboccard.com/index.php?id_lang=3

 

 

 

 

 

 

Portrait : Chabname Zariab

I’m a writer and hopefully a movie maker very soon.

 

Born in Afghanistan,  I left my home country, with my mother and my older sister, at the age of 8.

I grew up in a very literary family. I studied law and Real Estate.

Great cinema enthusiast, I participated in a contest which was worth to me being the prize-winner of Ile de France within the framework of Youth Award at Cannes Festival in 2008.

Subsequently, I wrote a script for a feature-length film, “Second State” which is currently under development.

“The Afghan pianist,” my first novel has received several Awards including the Mediterranean Award for Students.

Today I live and work in Paris.

Wajma at Anonymous Film Festival – Romania

Barmak Akram’s movie “Wajma” (“A love story of Afghanistan”)  the winning film for the Best Screenplay at Sundance Festival (USA)  is in the running for the trophy Anonymous 2013.

Anonimul International Independent Film Festival takes place at St. George, in the Danube Delta Romania, between 9th and 18th August 2013

Portrait : Mehdi Zafari

My name is Mehdi Zafari, born in 1983 in Ghazni province of Afghanistan in the Gol-Kuh village in the district of Qarah Bagh.

I am studying Anthropology at the EHESS in Paris, France, I am also a documentary filmmaker.

When I was a child, during the Soviet Union invasion, our house was bombed by the Soviet killing eight of my family.  Following that tragedy, my family decided to take refugee first in Pakistan and then in Iran.  I finished my school in Iran, a country with which we share the same language and religion.

With the fall of Taliban regime I decided to go back to my country in order to continue my education. A year later, I entered Kabul University, Fine Arts section.

The faculty lacked expert teachers and equipments. The workshops launched by foreign embassies were our only hope for knowledge and experience.

In 2006, I entered a course on documentary filmmaking delivered by the French Film School Ateliers Varan. Since then I have participated in a summer school on Cinema and Human Rights held in conjunction with the Venice Film Festival in Italy, participated in the Berlin Film Festival’s Berlinale-Talent Campus, attended the French National Film School La Fémis Documentary Summer School, attended the  “5 sur 5” Film Festival held in La Louviere Belgium and took part in a Film Editing course provided by Ateliers Varan in Kabul and some workshop in Paris at INA.

In 2009 Ateliers Varan workshop, along with my former French professor, I served as assistant trainer for a new group of 10 young film students.

In October and November 2010, I was working as Trainer and Training Coordinator in a production and training documentary program for young film students in Afghanistan called Community Supported Film from Boston, USA.

 

 

Atiq Rahimi “The Patience Stone” next screenings San Francisco International Film Festival

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The Patience Stone

A woman tends to her comatose husband, an injured rebel fighter in an unnamed, war-torn village, only whispering of her fear for their two young daughters’ lives. Weeks go by, and as her desperation grows, she gives voice to previously unuttered thoughts and memories without regard for anyone’s reaction. In a mesmerizing performance, Iranian actress Golshifteh Farahani portrays a woman who, under the most extreme circumstances, discovers the core of her identity. | Read More

Tribeca  Screening Times

FRI 4/26 8:30 PM SVA Theater 2 Beatrice BUY TICKETS
SAT 4/27 6:00 PM AMC Loews Village 7 – 1 BUY TICKETS

And  at

  

 

Screening Times

Sundance Kabuki Cinemas April 28, April 29, 2013 Both at 6:30 pm

To buy tickets go to :

http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=de0330a0-8003-46ae-a13b-f8dc0b8fea17&mdy=4/28/2013&

 

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Barmak Akram at Guggenheim NYC

Solomon R. Guggenheim Museum Fifth Avenue at 89th Kevin Street
6:30-8:30 pm, Friday, April 5 BARMAK AKRAM: THE KABULI KID
A Discussion with the Filmmaker and Screening of Wajma (An Afghan Love Story)A special one-time screening of Wajma (An Afghan Love Story), the most recent film written and directed by Barmak Akram (b. 1966, Kabul) that follows the clandestine relationship of gregarious waiter Mustafa and pretty student Wajma. Beginning as a playful and passionate affair, after Wajma discovers she is pregnant the consequences of the societal rules the pair has broken rapidly unfold. Awarded the World Cinema Dramatic Screenwriting prize at the 2013 Sundance Film Festival. Following the screening, Leeza Ahmady and Mariam Ghani join Akram in a discussion about filmmaking in Afghanistan, as well as the historic context and themes of cinema from the region. Program concludes with a reception and exhibition viewing of No Country: Contemporary Art for South and Southeast Asia.

Afghan films at Guggenheim NYC

History of Histories: Afghan Films, 1960 to Present

Fri, Mar 1, 15, 22, and 29, 2 pm

Organized by independent curator Leeza Ahmady and artist Mariam Ghani, this series of fiction films, newsreels, and documentaries juxtaposes contemporary work with selections from the archive of Afghanistan’s national film institute, and documents Afghanistan’s history and vibrant culture. English subtitles.

Leeza Ahmady and Mariam Ghani introduce the film program on March 1 and March 29.

Qadar Tahiri, Khan-e-Tarikh (The House of History), 1996Qadar Tahiri, Khan-e-Tarikh(The House of History), 1996. Courtesy Afghan Films
March 1, 2 pm

Selections from the Afghan Films Archive
(1967–80, 54 min.)

In these newsreels, documentary and propaganda shorts, and feature film clips drawn from the archive of Afghan Films, Afghanistan’s national film institute, the changing fashions, mores and politics of the constantly reconfigured state are reflected. With films from the end of the monarchy (the Zahir Shah period), the Daoud republic, the Afghan Communist republic, and the Soviet puppet state.

Khan-e-Tarikh
(The House of History, 1996, 20 min., dir. Qader Tahiri)

The only documentary produced by Afghan Films during the civil war years, The House of History is an intensely personal essay film directed by longtime cameramen Qader Tahiri that incorporates footage shot by six other cameramen from 1991–96 and poetic narration by Sher Mohammed Khara. The first half chronicles the destruction of Kabul during the civil war, while the second half meditates on the ruin of Kabul’s archaeological museum and the efforts to save fragments left behind after its destruction in 1991.

Fiction Shorts by the Jump Cut Film Collective
(2009–10, 10 min.)

The Jump Cut Film Collective was founded in Kabul in 2009 by a group of young, independent filmmakers who share both production duties and formal concerns. In the Name of Opium (dir. Sayed Jalal Hussaini) lies at the more experimental end of their output, with a completely nontraditional, circular or open-ended narrative structure and no dialogue. Formally, however, it is among the most completely realized of their films, with strong cinematography setting up a series of memorable images, each a small story in itself, and each a part of a larger opium-driven vicious cycle.

Feature: Akhtar Maskara
(Akhtar the Joker, 1980, 90 min., dir. Latif Ahmadi)

A stinging social critique of the gap between rich and poor, old and new Kabulis at the end of the 1970s, and the story of an unusual young man who falls into the cracks in between. Based on the novel by Aham Rahaward Zariab, and commissioned by the Parcham government, the film was shot by beloved director Latif Ahmadi in only 18 days; perhaps because of the literary source material, perhaps because of the compressed production time, it has a quality unlike anything else in Afghan cinema, with sharp cinematography, a twisting plot, and occasional breaks where our unreliable narrator (Faqir Nabi) addresses the camera directly.

Total run time 169 min.

Barmak Akram, Kabuli Kid, 2009
March 15, 2 pm

Documentary Shorts from Ateliers Varan Kabul
(2011, 47 min.)

Ateliers Varan, the documentary training program initiated by direct cinema pioneer Jean Rouch, has operated workshops in Kabul since 2006, in cooperation with Afghan Films and Radio Television Afghanistan. Shorts produced in Varan Kabul workshops have been screened in major documentary film festivals and broadcast internationally. The shorts Dusty Night and The Postman were produced during a workshop around “The Streets of Kabul,” and observe the rituals and rhythms of the city without judgment or commentary, unless offered by the participants observed. In Mohamed Ali Hazara’s Dusty Night, a group of street cleaners who fight a losing battle against the ever-present dust coating the city, and in Wahid Nazir’s The Postman, the eponymous postman Khan Agha attempts to deliver mail in a city reconstructed without a formal system of street names or house numbers.

Fiction Shorts by the Jump Cut Film Collective
(2009–10, 28 min.)

The Jump Cut Film Collective was founded in Kabul in 2009 by a group of young, independent filmmakers, who share both production duties and formal concerns. The early shorts ANT (dir. Hashem Didari) and Devious (dir. Sayed Jalal Hussaini) display Jump Cut’s preoccupation with narrative filmmaking that uses nonlinear temporal structures, as well as their interest in the illegal and informal economies, the petty and not so petty thefts, grifts, and deceits that spring from the inequities and poverty of Kabul.

Feature: Kabuli Kid
(2009, 94 min., dir. Barmak Akram)

In writer-director Barmak Akram’s debut feature, the life of cab driver Khaled (Hadji Gul) is thrown for a loop when he discovers that his last passenger left an infant boy in the backseat. Determined to do the right thing, Khaled embarks upon a chaotic adventure from one end of war-torn Kabul to the other to find the mother, all the while finding himself increasingly attached to the young life that fate has placed in his hands.

Total run time 169 min.

Latif Ahmadi, Akhtar Maskara (Akhtar the Joker), 1980Latif Ahmadi, Akhtar Maskara(Akhtar the Joker), 1980. Courtesy of Afghan Films
March 22, 2 pm

Selections from the Afghan Films Archive
(1967–80, 54 min.)

In these newsreels, documentary and propaganda shorts, and feature film clips drawn from the archive of Afghan Films, Afghanistan’s national film institute, the changing fashions, mores, and politics of the constantly reconfigured state are reflected. With films from the end of the monarchy (the Zahir Shah period), the Daoud republic, the Afghan Communist republic, and the Soviet puppet state.

Khan-e-Tarikh
(The House of History, 1996, 20 min., dir. Qader Tahiri)

The only documentary produced by Afghan Films during the civil war years, The House of History is an intensely personal essay film directed by longtime cameramen Qader Tahiri that incorporates footage shot by six other cameramen from 1991–96, and poetic narration by Sher Mohammed Khara. The first half chronicles the destruction of Kabul during the civil war, while the second half meditates on the ruin of Kabul’s archaeological museum and the efforts to save fragments left behind after its destruction in 1991.

Fiction Shorts by the Jump Cut Film Collective
(2009–10, 10 min.)

The Jump Cut Film Collective was founded in Kabul in 2009 by a group of young, independent filmmakers, who share both production duties and formal concerns. In the Name of Opium (dir. Sayed Jalal Hussaini) lies at the more experimental end of their output, with a completely nontraditional, circular or open-ended narrative structure and no dialogue. Formally, however, it is among the most completely realized of their films, with strong cinematography setting up a series of memorable images, each a small story in itself, and each a part of a larger opium-driven vicious cycle.

Feature: Akhtar Maskara
(Akhtar the Joker, 1980, 90 min., dir. Latif Ahmadi)

A stinging social critique of the gap between rich and poor, old and new Kabulis at the end of the 1970s, and the story of an unusual young man who falls into the cracks in between. Based on the novel by Aham Rahaward Zariab, and commissioned by the Parcham government, the film was shot by beloved director Latif Ahmadi in only eighteen days; perhaps because of the literary source material, perhaps because of the compressed production time, it has a quality unlike anything else in Afghan cinema, with sharp cinematography, a twisting plot, and occasional breaks where our unreliable narrator (Faqir Nabi) addresses the camera directly.

Total running time 174 min

Toryalai Shafaq, Mujasemaha Mekhandan (The Sculptures Are Laughing), 1976Toryalai Shafaq, Mujasemaha Mekhandan (The Sculptures Are Laughing), 1976. Courtesy of Afghan Films
March 29, 2 pm

Documentary Shorts from Ateliers Varan Kabul
(2011, 47 min.)

Ateliers Varan, the documentary training program initiated by direct cinema pioneer Jean Rouch, has operated workshops in Kabul since 2006, in cooperation with Afghan Films and Radio Television Afghanistan. Shorts produced in Varan Kabul workshops have been screened in major documentary film festivals and broadcast internationally. The shorts Dusty Night and The Postman were produced during a workshop around “The Streets of Kabul,” and observe the rituals and rhythms of the city without judgment or commentary, unless offered by the participants observed. In Mohamed Ali Hazara’s Dusty Night, a group of street cleaners who fight a losing battle against the ever-present dust coating the city, and in Wahid Nazir’s The Postman, the eponymous postman Khan Agha attempts to deliver mail in a city reconstructed without a formal system of street names or house numbers.

Fiction Shorts by the Jump Cut Film Collective
(2009–10, 28 min.)

The Jump Cut Film Collective was founded in Kabul in 2009 by a group of young, independent filmmakers, who share both production duties and formal concerns. The early shorts ANT (dir. Hashem Didari) and Devious (dir. Sayed Jalal Hussaini) display Jump Cut’s preoccupation with narrative filmmaking that uses nonlinear temporal structures, as well as their interest in the illegal and informal economies, the petty and not so petty thefts, grifts, and deceits that spring from the inequities and poverty of Kabul.

Feature: Mujasemaha Mekhandan
(The Sculptures Are Laughing, 1976, 81 min., dir. Toryalai Shafaq)

The deliriously paced story of an artist who falls in love with a spoiled rich girl, who marries a gangster that then draws both her and her former love into his wacky schemes. A window into life in Daoud’s republic, from art school and fashion shows to house parties and weddings.

Total run time 156 min.

Lida Abdul Exhibition Fundaçao Calouste Gulbenkian Lisbon

Lida Abdul was born in Kabul in 1973. She is based in USA since the late eighties. She returns regularly to Afghanistan which is the main theme of her work. It has been defined as “a beauty that hurts”.

"White House 4"
Lambda print on aluminium 240 x180 cm

“White House 4”
Lambda print on aluminium 240 x180 cm

Exhibition started in January 18 and will run till March 31, 2013

Buzkashi Boys on their way to the Oscars

Buzkashi Boys Trailer from Sam French on Vimeo.

Set against the dramatic landscape of contemporary Afghanistan and the National sport of Buzkashi – a brutal game of horse polo played with a dead goat – “Buzkashi Boys” is a ground-breaking narrative film about two best friends, a charismatic street urchin and a defiant blacksmith’s son, who strive to realize their dreams as they make their way to manhood in one of the most war-torn countries on Earth. Shot entirely on location in Kabul by an alliance of Afghan and international filmmakers, “Buzkashi Boys” is a heart-rending look at the life that continues beyond the headlines of war in Afghanistan. Directed by Sam French

Herat International Women’s Film Festival

 

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Armanshahr Foundation/OPEN ASIA and ROYA Film House are pleased to announce the inauguration, for the first time in Afghanistan, of the

Herat International Women’s Film Festival

The city of Herat will host the three-day International Film Festival on the occasion of 8 March International Women’s Day.
The Festival will take place every year, however the first Festival is not competitive.
The last call to national and international film makers to send their works (fiction/documentary) on the theme of “women” is set for 24 Feb 2013.

TO CONTACT THE FESTIVAL:
TEL: +93 702376738/+93 704498450
Email: womenfilmfestival.herat@gmail.com

Rubab Concert in Basel

CONCERT

 

Khaled Arman with Siar Hashimi

The rubab, also known as “the lion of instruments” is a short necked, double chambered lute and the national instrument of Afghanistan. The body is carved out of a single wood, with a membrane covering the hollow bowl of the sound-chamber, upon which the bridge is positioned. It has three melody strings tuned infourths, three drone strings and 11 or 12 sympathetic strings. The instrument is made from the trunk of a mulberry tree, the head from an animal skin such as a goat skin, and the melody strings from either gut or nylon.