Ziyah Gafić : Palestine, A Land without People, People without Land
Ziyah Gafić was born in Sarajevo, surviving the Bosnian war. His full biography is worth a read, and puts in context the personal investment he has in his photography practice. An excerpt:
This is a series of photo essays, on the aftermath of war and violence in the daily life of people living in societies in Europe, Africa and Asia. I aimed to capture the quiet, the loneliness and the determination of people trying to carry on with their lives after the very fabric of their community, their rituals and their social life has been torn apart.
Aim is to compare and to try to understand the circumstances and the political environment that can lead a country to its disintegration and above all to record the consequences for the human condition in these places. For someone who went through war and personal loss empathy is essential. If readers do not emphasize with the subject in my photographs then I have failed.
The countries I photographed have one more important thing in common: they all have a significant Muslim community. In post 9.11th times when these countries are considered the main sources of international terrorism, I as a European Muslim find it obligatory to record the chain of events unfolding in these places and show their fragility: torn apart by ethnic hate, long and exhausting conflicts, polluted with the legacy of colonial rule and Cold War, while very often being regarded as a cradle of our civilization, mysterious and beautiful.
I’ve been documenting aftermath since 1999 since then I worked in; Bosnia: a painful aftermath and identification of the missing persons, Palestine: one of the longest conflicts of 20th century and new separation wall, Iraq: the troubled neighborhood of Sadr City, Kurdistan: at dawn of the coalition invasion, Northern Ossetia: aftermath of Beslan siege, Chechnya: daily life in Grozny, Afghanistan: damaged people, damaged landscape and Lebanon: aftermath of recent Israeli military campaign.
These photo-essays unpretentiously seek to illuminate the pattern of questionable international involvement and focus on the people left behind, struggling to restore some kind of daily order in their damaged environments.
Ancient Art Week!
Black Woman Holding Beauty Implements
Egypt (19th Dynasty; 1292-1187 B.C.E.)
Terracotta, 20 cm.
Oxford, the Ashmolean Museum, Department of Antiquities
The Image of the Black in Western Art Research Project and Photo Archive, W.E.B. Du Bois Institute for African and African American Research, Harvard University
I have to say, despite the fragmented state of this figurine, this woman’s beauty is striking. It’s no surprise she’s holding beauty implements.
Emphasis mine because true!
Denis Dailleux : Cairo
*you can always tell when a photographer really lives in the city he or she is photographing. Beautiful and gentle moments everywhere.
Nadia Myre, Indian Act
Indian Act speaks of the realities of colonization - the effects of contact, and its often-broken and untranslated contracts. The piece consists of all 56 pages of the Canadian Federal Government’s Indian Act mounted on stroud cloth and sewn over with red and white glass beads. Each word is replaced with white beads sewn into the document; the red beads replace the negative space.
Madeline would rather go to school, but for two years she has been working. Every day she rows her wooden skiff out into Gaza’s heavily patrolled waters. Her father, a fisherman himself, was suddenly struck with palsy and cannot fish anymore. Since she is 16 years old and the eldest child, she has to assume the role of feeding her family.
Madeleine manages to make her way in a male-dominated world. In the Gaza strip, women rarely venture to the sea, even just to swim. Her Brothers Qaid and Karim, and her sister Rim help her when they are not at school.