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In Pictures

In Pictures: Light from the Middle East

A contemporary photography exhibition in London offers insight into the diverse and fast-changing region.
Last Modified: 24 Dec 2012 08:39

London, UK - A major exhibition of Middle Eastern photography has opened in London combining the expertise and resources of two of Britain's most respected museums - the Victoria and Albert and the British Museum.

Organisers of the free exhibit at the Victoria and Albert Museum said more than 12,000 people visited in the first five days to see the 94 photographs by 30 artists from the Middle East.

For the show, the “Middle East'' is a purely geographic definition that ranges from North Africa to Turkey to Afghanistan, curator Marta Weiss explained.

Weiss designed the photo exhibition, which runs until April 7th, into three sections: recording, reframing and resisting. But there is a prelude: a photojournalism series from 1978-79 of the Iranian revolution by the iconic Iranian photographer Abbas.

Weiss said she included the Abbas photographs “to indicate that photography in the Middle East is not brand new, that it hasn't suddenly emerged from nowhere".

Weiss said the artists she's chosen for the show aren't photojournalists and they aren't just taking snapshots, but exploring what photography means on a deeper level.

She said the exhibit looks at “how photographs can be used for different purposes - propaganda, censored, or manipulated, and within the Middle East there is a heightened awareness of that due to the particular circumstances".


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
"Rioters burn a portrait of the Shah" during the 1979 Iranian revolution, by the iconic Iranian photographer Abbas. The series of news photographs serves as a prelude to the exhibition, as curator Marta Weiss explained, "to indicate that photography in the Middle East is not brand new, that it hasn't suddenly emerged from nowhere".


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
This photograph by the Saudi artist Manal Al-Dowayan is part of a series titled, "I am a Saudi Citizen". The woman is photographed with the Saudi flag and traditional heavy jewellery, suggesting women are weighed down by traditional Saudi society.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
"On the Threshold of Time", by Afghan photographer Atiq Rahimi, uses a basic box-style camera to photograph contemporary Kabul. The camera gives an unpredictable effect, calling into question the stability of the image and the city itself.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
A still from Jananne al Ani's video "Shadow Sites II" deliberately introduces ambiguity. As the aerial views of the desert zoom into detail, the scale plays tricks with the eye, questioning the authority of the picture.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
Newsha Tavakolian's photographs of "Mothers of Martyrs" show mothers holding pictures of their sons killed in the Iran-Iraq War from 1980-88. The grieving mothers age and wrinkle, as their sons remain forever young.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
In "The Break", Nermine Hammam photographed young soldiers sent to Cairo's Tahrir Square during the 2011 uprising. The photographer sensed the conscripts' unease and digitally manipulated the photographs, transporting them to scenes of bucolic beauty.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
"The Path (Siraat)" is a photograph of an installation made by the Saudi artist Abdulnasser Gharem. The artist painted the word Al Siraat ("the path") on the remains of a bridge washed away in a flash flood, which killed a number of people who had taken shelter on it. "The Path" has both religious and literal meanings in this context.


/Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
Waheeda Malullah, a Bahraini artist, depicts a Shia custom whereby relatives visit the tombs of loved ones, touching them to seek or give blessings. Malullaha's series, Light, 2006, exaggerates the custom as she photographs herself lying near the tombs.



images:
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captions:
"Rioters burn a portrait of the Shah" during the 1979 Iranian revolution, by the iconic Iranian photographer Abbas. The series of news photographs serves as a prelude to the exhibition, as curator Marta Weiss explained, "to indicate that photography in the Middle East is not brand new, that it hasn(***)t suddenly emerged from nowhere".;*;This photograph by the Saudi artist Manal Al-Dowayan is part of a series titled, "I am a Saudi Citizen". The woman is photographed with the Saudi flag and traditional heavy jewellery, suggesting women are weighed down by traditional Saudi society.;*;"On the Threshold of Time", by Afghan photographer Atiq Rahimi, uses a basic box-style camera to photograph contemporary Kabul. The camera gives an unpredictable effect, calling into question the stability of the image and the city itself.;*;A still from Jananne al Ani(***)s video "Shadow Sites II" deliberately introduces ambiguity. As the aerial views of the desert zoom into detail, the scale plays tricks with the eye, questioning the authority of the picture.;*;Newsha Tavakolian(***)s photographs of "Mothers of Martyrs" show mothers holding pictures of their sons killed in the Iran-Iraq War from 1980-88. The grieving mothers age and wrinkle, as their sons remain forever young.;*;In "The Break", Nermine Hammam photographed young soldiers sent to Cairo(***)s Tahrir Square during the 2011 uprising. The photographer sensed the conscripts(***) unease and digitally manipulated the photographs, transporting them to scenes of bucolic beauty.;*;"The Path (Siraat)" is a photograph of an installation made by the Saudi artist Abdulnasser Gharem. The artist painted the word Al Siraat ("the path") on the remains of a bridge washed away in a flash flood, which killed a number of people who had taken shelter on it. "The Path" has both religious and literal meanings in this context.;*;Waheeda Malullah, a Bahraini artist, depicts a Shia custom whereby relatives visit the tombs of loved ones, touching them to seek or give blessings. Malullaha(***)s series, Light, 2006, exaggerates the custom as she photographs herself lying near the tombs. Daylife ID:
1355389955193
Photographer:
;*;;*;;*;;*;;*;;*;;*;
Image Source:
Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum;*;Art Fund Collection of Middle Eastern Photography at the VA and the British Museum
Gallery Source:
Daylife
Daylife Raw Data:
testhttp://aljazeera.smartgalleries.net/gallery/1355389955193en-usAl Jazeerafeedback@daylife.com10Thu, 13 Dec 2012 09:12:35 GMTSun, 23 Dec 2012 14:13:15 GMT http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=01qCdvz4N261y

"Rioters burn a portrait of the Shah" during the 1979 Iranian revolution, by the iconic Iranian photographer Abbas. The series of news photographs serves as a prelude to the exhibition, as curator Marta Weiss explained, "to indicate that photography in the Middle East is not brand new, that it hasn't suddenly emerged from nowhere".

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=01qCdvz4N261yArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

"Rioters burn a portrait of the Shah" during the 1979 Iranian revolution, by the iconic Iranian photographer Abbas. The series of news photographs serves as a prelude to the exhibition, as curator Marta Weiss explained, "to indicate that photography in the Middle East is not brand new, that it hasn't suddenly emerged from nowhere".

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=01wZ1Xq9nZdHW

This photograph by the Saudi artist Manal Al-Dowayan is part of a series entitled, "I am a Saudi Citizen". The woman is photographed with the Saudi flag and traditional, heavy jewellery, suggesting that women are weighed down by traditional Saudi society.

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=01wZ1Xq9nZdHWArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

This photograph by the Saudi artist Manal Al-Dowayan is part of a series entitled, "I am a Saudi Citizen". The woman is photographed with the Saudi flag and traditional, heavy jewellery, suggesting that women are weighed down by traditional Saudi society.

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0dI4bdB1sN25H

"On the Threshold of Time", by Afghan photographer Atiq Rahimi, uses a basic box-style camera to photograph contemporary Kabul. The camera gives an unpredictable effect, calling into question the stability of the image and the city itself.

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0dI4bdB1sN25HArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

"On the Threshold of Time", by Afghan photographer Atiq Rahimi, uses a basic box-style camera to photograph contemporary Kabul. The camera gives an unpredictable effect, calling into question the stability of the image and the city itself.

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0gyt5dTeWH0Rb

A still from Jananne al Ani's video "Shadow Sites II" deliberately introduces ambiguity. As the aerial views of the desert zoom into detail, the scale plays tricks with the eye, questioning the authority of the picture.

Thu, 13 Dec 2012 10:41:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0gyt5dTeWH0RbArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

A still from Jananne al Ani's video "Shadow Sites II" deliberately introduces ambiguity. As the aerial views of the desert zoom into detail, the scale plays tricks with the eye, questioning the authority of the picture.

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=00PG3zOcRkbQH

Newsha Tavakolian's photographs of "Mothers of Martyrs" show mothers holding pictures of their sons killed in the Iran-Iraq war. The grieving mothers age and wrinkle as their sons remain forever young.

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=00PG3zOcRkbQHArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

Newsha Tavakolian's photographs of "Mothers of Martyrs" show mothers holding pictures of their sons killed in the Iran-Iraq war. The grieving mothers age and wrinkle as their sons remain forever young.

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0axbeoJ0Y50ht

In "The Break", Nermine Hammam photographed young soldiers sent to Cairo's Tahrir Square during the 2011 uprising. The photographer sensed the conscripts' unease and digitally manipulated the photographs, transporting them to scenes of bucolic beauty.

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0axbeoJ0Y50htArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

In "The Break", Nermine Hammam photographed young soldiers sent to Cairo's Tahrir Square during the 2011 uprising. The photographer sensed the conscripts' unease and digitally manipulated the photographs, transporting them to scenes of bucolic beauty.

http://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0a8scpB0m0f3K

"The Path (Siraat)" is a photograph of an installation made by the Saudi artist Abdulnasser Gharem. The artist painted the word Al Siraat ("the path") on the remains of a bridge washed away in a flash flood, which had killed a number of people who had taken shelter on it. "The Path" has both religious and literal meanings in this context.

Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0a8scpB0m0f3KArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload Images

"The Path (Siraat)" is a photograph of an installation made by the Saudi artist Abdulnasser Gharem. The artist painted the word Al Siraat ("the path") on the remains of a bridge washed away in a flash flood, which had killed a number of people who had taken shelter on it. "The Path" has both religious and literal meanings in this context.

ahttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0fXDeVwdZveNsWaheeda Malullah, a Bahraini artist, is depicting a Shia custom whereby relatives visit the tombs of loved ones, touching the tombs to seek or give blessings. Malullaha's series, Light, 2006, exaggerates the custom as she photographs herself lying near the tombs.Sun, 23 Dec 2012 00:00:00 GMThttp://aljazeera.smartgalleries.net/gallery/1355389955193?image_id=0fXDeVwdZveNsArt Fund Collection of Middle Eastern Photography at the VA and the British MuseumAl Jazeera Upload ImagesWaheeda Malullah, a Bahraini artist, is depicting a Shia custom whereby relatives visit the tombs of loved ones, touching the tombs to seek or give blessings. Malullaha's series, Light, 2006, exaggerates the custom as she photographs herself lying near the tombs.a


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