Archive: Art in Afghanistan
These paintings depict what happens in war-torn areas

These paintings depict what happens in war-torn areas

Steve Mumford - The Prayer, 2016, oil on linen, 121.9x152.4cm
Steve MumfordThe Prayer, 2016, oil on linen, 121.9×152.4cm

Many artists often find that they have to immerse themselves in the landscapes and the environment that they paint. This not only helps when capturing the true essence of the subjects to be featured in the art, but it also helps the artist gain a deeper understanding of the subjects in regards to their feelings, emotions, and opinions.

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After Soviet & US invasions: Creation of beautiful war rugs

After Soviet & US invasions: Creation of beautiful war rugs

Afghan War Rugs, AFP-JIJI
War Rug in Afghanistan
Photo: AFP-JIJI

Every time there is war in a region, the locals look for ways to ease their frustration in an effort to remain hopeful. Afghanistan has been at war for a long time and while most people are aware of the United States invasion in 2001, the Soviet Union had occupied the region in 1979. The Middle East region is renowned for its creative rug art and this trade was popular among the women. Up until the dawn of the 1980s, Afghanistan rug makers would dramatically alter the designs of the rugs. Instead of flowers, tanks, airplanes and rocket launchers would comprise the basic design of the rugs. Even though these new-age rug designs would be symbolic of hard and trying times, they would be among the richest art form as a result of war.

The art of rug making in Afghanistan for centuries past was practiced by women. As it was popular among the nomadic tribes, it was not long before various tribes took it up as an activity they would do with their hands. The presence of the Pazyryk rug believed to have been made in the 4th century B.C. is evidence of this deep-rooted tradition. The rugs were used a medium to preserve patterns and lessons as experienced by the artist. It is this inspiration to make art pieces to depict the life around them, which led to the rug images changing following the invasion of Soviet forces.

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This is how conflict tastes

This is how conflict tastes

Conflict Kitchen: Cuban, Iranian, Afghan, Venezuelan

Conflict Kitchen: Cuban, Iranian, Afghan, Venezuelan
Conflict Kitchen: Cuban, Iranian, Afghan and Venezuelan takeouts, Pittsburgh, PA, USA

Conflict Kitchen is a unique restaurant in Pittsburgh focusing on one nation at a time, serving dishes from countries with which the United States is currently in conflict. Each Conflict Kitchen version is amplified by profound events, performances, publications, and discussions that strive to expand the public’s engagement with the culture, politics, and issues that the country of focus deals with.

This restaurant does more than introduce customers to the food of the focus country, but envelopes them in the country’s culture, and politics introducing customers to the diverse perspectives from real members of the focus community thus serving to reveal a nuanced scale of thought, understanding, an belief within each country. This dynamic restaurant serves to bring about inquisitorial reactions, conversation, and debate with customers.

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Alighiero Boetti’s beautiful Maps of the World

Alighiero Boetti’s beautiful Maps of the World

Alighiero Boetti - Mapa del mundo (Map of the World), 1971-72, grey
Alighiero BoettiMapa del mundo (Map of the World), 1971-72, embroidery

In 1971 upon his departure from Italy and his arrival in Afghanistan, Alighiero Boetti began a continuous collaboration with local weavers to produce embroidered tapestries, using himself only as the referential artist but considering the works a creation of a combined effort. Mappa del Mundo is a colorful, beautiful crafted tapestry showing each country emblazoned with its own flag, examining borders, frontiers, nationalism, and patriotism. The borders are emblazoned with Italian and Persian texts, selected by Boetti and the craftswomen. Over the next two decades, from 1971 to 1994, more than 150 Mappe of different colors and sizes were created in this way. From this, geopolitical changes were tracked throughout the world, transforming a simple idea into a political vision by visualizing territory disputes and regime changes. Halfway through their endeavour, the embroiderers selected a pink thread to fill in the oceans, completely altering the look of the works. Boetti loved the intrusion of chance into the artistry of the craftsmen, and let them select the thread colors from then on. Because of this, he has little say in the appearance of the maps.

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