Atiq Rahimi at National Archives – Kabul

” An Afghan Cultural Identity ? ”

Exhibition at National Archives from April 25 till July 25, 2016.

A collaboration National Archives & Afghanculturemuseum.

With Atiq Rahimi, Bismillah Khusravi, Patrick Pleutin, Pascale Bastide

“My culture is genuinely plural. So, my cultural identity is defined by its interaction with the Indian, Persian-speaking, Arabic, Turkish and Chinese civilizations.

Seventy two nations shall hear from us their secrets. We chant the air of two hundred religions on a single note of flute.

The mixture of ethnic groups and cultures, the richness of this land is threatened by the wars, let us wish ardently the peace to protect this very unique wealth of ours” Atiq Rahimi

Afghanculturemuseum and National Archives – Kabul

Exhibition Archives-e-Millie Kabul – April 25 till July 25, 2016

Inspired by Mrs Masuma Nazari, Director of the museum, with Patrick Pleutin, Mohammad Mehdi Zafari, Pascale Bastide, and Students in Arts from Kabul University

“An Afghan cultural Identity ?”

This exhibition intends to guide the visitor through different media to a possible answer to that question, which could only be resolved by linking the past and the present.

From the entrance two embroidered textiles with the words “conservation” and “future” great the visitor, a path bordered by chalk works representing ideograms meant to whet the curiosity, leads him or her to the entrance of the museum.

In the first room put on large table, a hand-made painted book , an original piece of art, shows how documents of the past can seem as contemporary and seduce a young audience.

To invite the visitor to troll through all the galleries, poems are written with a flourish calligraphy on the 30 window desks presenting documents, miniatures and photographies.

In the first gallery, on the right hand side, two niches have been filled up with enlarged miniatures, representing a woman and a man to emphasize the delicacy of the drawing and the colour, moreover the scale of the personages creates an immediate feeling of otherness.

The third room welcomes a flat screen TV monitor, harmoniously integrated in the antique furniture of the National Archives. It presents the concept of the virtual Afghanculturemuseum whose the digital expression enables to mix 4.000 B.C. works of art with the contemporary daily life of the Afghan people.

In the  last room, under the watchful eyes of a young man of the 15th Century,  another enlarged miniature entitled “Timeless treasure”, a short film, after a text of Atiq Rahimi , composed of different types of images from The National Archives and enriched by live calligraphies, praise the different ethnic groups of Afghanistan, a delicate richness to be cherished.

All the glasses of the doors, as a magical gesture, have been decorated with white painted copies of flowers inspired by details of miniatures, turning the entire museum into an immense herbarium.

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Beautify Kabul – Artists Graffiti

‘Ordinary heroes’

“All people are living in fear so with this art, we can change the look of the city, and give a message of peace to the people and a message of acceptance of each other,” Maryam Kohi says.

“We want to shift the paradigm of heroism in Afghanistan,” Kabir Mokamel says. “It has always been heroes with guns or with swords, you know?

“So we want to celebrate the people that we see every day who are working on the street.”

“It’s time for Afghanistan and for the world to contribute something else other than weapons and war,” Mokamel says.

“We have been through war for the past 36 years, it’s really time to give art and artists a chance.”

From Jennifer Glasse’s Blog on Al Jazeera

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Khaled Arman & Siar Hashimi – Rubab & Percussions

Rubab & Percussions
1) Ya rasul-allah
2) Gold-e par zolfo
3) Modat-e shod ke tora
4) Daramad in Shur
5) Chahar Mezrab
6) Dar Daman-e Sahra
7) Mogholi ( Solo Zerbaghali)
8) Mawsom-e Gol
9) Raga Puria-Danashri, Gat in Matta Taal
Rubab – Khaled Arman
Zerbaghali,Tabla and Dholak – Siar Hashimi
Recordings – Khaled Arman
Editing – Miass Raolson
Video – Wolgrand Ribeiro

Zarif in Paris

Poésie, Exposition & Vente Privée at Galerie Nikki Diana Marquardt

A l’occasion de la soirée d’ouverture du samedi 29 novembre de 18h à 21h 
 
Nous aurons le plaisir d’accueillir notre invitée Leili Anvar, maître de conférence en langue & littérature persane
 
Projection de deux documentaires par Awaz Kabul 
Kabul Underground, (26min), documentary produced in 2011
Zarif “Precious” (26min), documentary produced in 2011
From Kabul with Love 
Afghanistan 2007-2013 | Photographies par Sandra Calligaro

Horaires

Samedi 29 novembre de 12h à 21h

Dimanche 30 novembre, lundi 1er & mardi 2 décembre de 12h à 18h

 

Galerie Nikki Diana Marquardt 
10 rue de Turenne
75004 Paris 
+33 (0) 6 661 71 7518

 

Mehdi Amini at French Institute Kabul

 

promo Mehdi AMINIAfghan cartoonist Mehdi Amini displays his skillful work entitled “Dirtied Taliban Hands” that offers social and political commentary on the role of women in Afghanistan and government policies toward the Taliban.

continue on : www.tolonews.com/en/afghanistan/16084-afghan-cartoonist-exhibits-skill-political-critique

Zarif Design at Nikki Diana Marquardt Gallery Paris

From Thursday 8 till Sunday 11, May 2014

10 rue de Turenne 75004 Paris

Zolaykha Sherzad invites you to discover, exclusively in France, her new collection.

Private party on Thursday, May 8th from 6:00pm to 10:00pm (RSVP)

Hours:  Thursday and Friday from 12:00am to 10:00pm

Saturday and Sunday from 12:00am to 6:00pm

Contact: zarifparis@gmail.com & mobile: 00 33 6 61 71 75 18

******

Du jeudi 8 au dimanche 11 mai 2014

10 rue de Turenne 75004 Paris

10 rues

Zolaykha Sherzad vous invite à découvrir, en exclusivité en France, sa nouvelle collection

Soirée privée le jeudi 8 mai de 18h à 22h (RSVP) Gallery Nikki Diana Marquardt

Horaires : jeudi et vendredi de 12h à 22h

samedi et dimanche de 12h à 18h

 Contact :  zarifparis@gmail.com & mobile : 00 33 6 61 71 75 18

ABOUT ZOLAYKHA  : http://magazinemv.com/4-issue CHECK PAGE 59

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Afghan Rock Nights, Switzerland

In January 2014, FOCUS invites two rock bands White Page and Ariana Delawari in Switzerland during SOFA KABUL artistic exchange


Dates & Venues

10.01.14  Reitschule, Bern

11.01.14 Rote Fabrik, Zürich

17.01.14  Case à chocs,Neuchâtel

18.01.14  Rocking-chair, Vevey

arianadelawari.com

whitepageafghanistan.com

More on SOFA KABUL

news1

 

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….

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.

 

 

 

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

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

Medium_patience-stone_1

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&

 

Patience_Stone_03

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.