Category Archives: Events

Ahmed Mater: A to Y

Antenna; Ahmed Mater (Saudi Arabia, b. 1979); 2010; cold cathode lighting; Courtesy of the artist and Athr

Antenna; Ahmed Mater (Saudi Arabia, b. 1979); 2010; cold cathode lighting; Courtesy of the artist and Athr

Get to know Ahmed Mater, whose work goes on view in Symbolic Cities tomorrow, through a glossary of key terms related to this singular Saudi artist.

  • Antenna (above): Mater, pictured with his glowing sculpture Antenna, was born in 1979 in the rugged Aseer region of southwestern Saudi Arabia.
  • British Museum: The London institution has acquired and exhibited Mater’s work.
  • clock tower: With the growing religious tourism industry, hotel rooms in the new Makkah Royal Clock Tower complex have come to dominate the skyline above the Great Mosque’s main sanctuary.
  • Desert of Pharan: In 2011, Mater began photographing Mecca, in western Saudi Arabia, for a series titled Desert of Pharan, referring to the ancient name for the area around the holy city.
  • The Empty Land: Mater’s first major photographic series, the Empty Land is inspired by nineteenth-century descriptions of the American West.
From the Real to the Symbolic City, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); 2012; color photograph; Purchase—Friends of the Freer and Sackler Galleries S2014.5

From the Real to the Symbolic City, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); 2012; color photograph; Purchase—Friends of the Freer and Sackler Galleries S2014.5

  • From the Real to the Symbolic City: This expansive view captures the extraordinarily dense population and traditional architecture that have characterized Mecca for centuries. Pushed to the outskirts, the old quarter disappears into a horizon obscured by heavy, gray haze, where the iconic clock tower looms like a beacon over the city under construction.
  • Golden Hour: A vast field of cranes stands in the perpetual glow of construction lights as the massive expansion of the Great Mosque takes shape and much of Mecca’s history is erased.
  • hajj: For more than a millennium, Mecca has hosted Muslims performing the hajj, the obligatory pilgrimage centered on the Kaaba, a cube-like building in the middle of the Masjid al-Haram (Great Mosque).
  • jamarat: Moving east to west, pilgrims reenact Abraham’s hajj by throwing seven pebbles against each of three pillars, known collectively as jamarat. In Mater’s photograph Human Highway, we can sense both the significance of this rite and the considerable risk posed by the overwhelming mass of people funneling in.
  • Kaaba: The structure at the center of the hajj and its pilgrims are represented in Mater’s Magnetism.
  • Leaves Fall in All Seasons: In this video—Mater’s vision of Mecca through the eyes of immigrant construction workers—a lone figure perches on the golden crescent that will crown the clock tower. The worker’s mundane task becomes spectacular, as he glides through the air “like an angel bringing a warning.”
  • Makkah/Mecca: Today, as Mater’s images show, Mecca is witnessing the largest transformation in its history. “Like few cities on earth, Makkah (Mecca) seems to buckle under the weight of its own symbolism,” he says. “It is a hallowed site revered by millions and a point of perpetual immigration. In recent years, it has begun to be recast, reworked, and ultimately reconfigured.”
Nature Morte, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); 2013; color photograph; Purchase—Friends of the Freer and Sackler Galleries S2014.6

Nature Morte, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); 2013; color photograph; Purchase—Friends of the Freer and Sackler Galleries S2014.6

  • Nature Morte: Inside the quiet luxury of a private hotel room overlooking the Great Mosque’s main sanctuary, Mater’s framing becomes a subtle commentary on how political and spatial changes are reinventing the center of the Islamic world.
  • Pelt Him!: The murmur of crowds and the continuous rhythm of pebbles striking a wall gently draw us into Mecca, one of the most restricted yet highly visited cities in the world. At several different points during the hajj, pilgrims perform this stone-throwing ritual, symbolizing stoning the devil or casting away temptations.
Crisis, from the series Ashab Al-Lal/ Fault Mirage: A Thousand Lost Years; Ahmed Mater (Saudi Arabia, b. 1979); 2015; wood slide viewer with glass slide; courtesy of the artist and Athr

Crisis, from the series Ashab Al-Lal/Fault Mirage: A Thousand Lost Years; Ahmed Mater (Saudi Arabia, b. 1979); 2015; wood slide viewer with glass slide; courtesy of the artist and Athr

  • Riyadh: Mater’s exploration of Saudi Arabia has led him toward Riyadh, the country’s administrative capital and largest city, and the roots of the social transformation that he is witnessing today. In his latest project, Ashab Al-Lal/Fault Mirage: A Thousand Lost Years, Mater reimagines life in and around Riyadh and the Saudi Aramco compounds further east.
  • Symbolic Cities: This exhibition, the first in the United States solely dedicated to Mater, presents his visual and aural journeys observing economic and urban change in Saudi Arabia. In Mater’s words, the “real city” of Mecca is being replaced by a new “symbolic city.”
  • transformation: Now based in Jeddah, Mater experiments with a range of mediums in his search to understand the country’s rapid transition from an agrarian way of life to a powerful oil-based economy.
Between Dream and Reality, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); color photograph; courtesy of the artist

Between Dream and Reality, from the series Desert of Pharan (2011–13); Ahmed Mater (Saudi Arabia, b. 1979); color photograph; courtesy of the artist

  • utopia: Observing one of the many billboards of the older city that mask construction sites, Mater considers Mecca as a living city that is constantly re-envisioned: “Dreams surround it . . . in the belief that Utopia can be created here. Yet time and again, as with every age of renovation, we live within a reality of drills, demolition, and destruction.”
  • workers: Along with Mecca’s evolving urban plan and its inhabitants, Mater observed the conditions of the many immigrant workers. His photograph Artificial Light Construction is an interior view of a new sanctuary space, framed by an endless expanse of scaffolding, that reinforces the extraordinary scale—and uniformity—of the changes taking place from the perspective of the workers rebuilding the city.
  • x-rays: Mater’s first experience with photography was shooting x-rays while working in a hospital. Compare those images to the ones in his Disarm series, in which Mater photographed Mecca through the cold light of a military helicopter’s night surveillance camera.
  • Yemeni border: As Mater explains of Antenna: “Standing on the dusty rooftop of my family’s traditional house in the southwest corner of Saudi Arabia, I would lift a battered TV antenna as far as I could toward the evening sky. Moving it slowly across the mountainous horizon, I searched for a signal from beyond the Yemeni border or across the Red Sea toward Sudan. . . . Like many of my generation in Saudi Arabia, I was seeking ideas, music, poetry—a glimpse of a different kind of life. This spirit of creative exploration, curiosity, and reaching out to communicate across the borders surrounding me have defined my journey as an artist.”

Turquoise Mountain: Jali Woodwork

Scenes from Turquoise Mountain, Kabul, Afghanistan, Monday, September 30, 2013. Photo © by Tina Hager fro TFBSO.

Scenes from Turquoise Mountain, Kabul, Afghanistan, September 30, 2013. Photo © by Tina Hager fro TFBSO.

Jali is the term for a latticed screen, which can be made of wood or stone. This screen usually has an ornamental pattern based on geometric designs. It is a style of work found across the Islamic world. In Morocco and much of the Middle East, this style of work is known as mashrabiyya, while in Afghanistan and South Asia it is known as jali.

Jali screens were used in many elements of traditional domestic and public architecture in Kabul. Areas such as Murad Khani and Asheqan-o-Arefan (restored by the Afgha Khan Trust for Culture) have excellent surviving examples of this work.

Scenes from Turquoise Mountain, Kabul, Afghanistan, Monday, September 30, 2013. Photo © by Tina Hager fro TFBSO.

Scenes from Turquoise Mountain, Kabul, Afghanistan, Monday, September 30, 2013. Photo © by Tina Hager fro TFBSO.

To make jali, a woodworker traces a geometric design onto paper, then cuts thin slivers of walnut or cedar wood with a fine saw. These pieces are matched to the tracing paper to ensure exact sizing before being fixed together with wood glue. The whole piece is then clamped to ensure a strong fit.

Turquoise Mountain has created large-scale jali works for international commissions, including the Museum of Islamic Art in Qatar, the Connaught Hotel in London, and a private house in upstate New York. In Turquoise Mountain: Artists Transforming Afghanistan, master woodworker Nasser Mansouri has his own pieces on display. He explains in the exhibition text, “I started working on the restoration of historic buildings in Murad Khani in 2006. I learned so much by studying those buildings: the beautiful cedar wood carving on window frames; the latticework known as jali above doorways; the subtle method by which joints were put together without a nail in sight. The buildings became my teachers.”

Nasser Mansouri © by Tina Hager for TFBSO.

Nasser Mansouri © by Tina Hager for TFBSO.

Environmental Film Festival: From the Tundra to the Future

Taïga screens at 1 pm this Sunday at at the National Museum of American History, Warner Brothers Theater.

Taïga screens at 1 pm this Sunday at at the National Museum of American History, Warner Brothers Theater.

It’s a pleasure every year to participate in the Environmental Film Festival in the Nation’s Capital, the largest and longest-running festival of its kind in the United States. With dozens of screenings all over the DMV area, it is a kaleidoscopic survey of filmmakers addressing some of the most important issues facing the world today.

This year, our contribution is a double feature presented on March 20 in the National Museum of American History’s state-of-the-art Warner Brothers Theater. First up is Taïga, Hamid Sardar’s intimate, beautiful documentary about nomadic Mongolian sheepherders and the fragile ecosystem they inhabit. The screening is followed by a discussion with two Smithsonian experts on Mongolia: William Fitzhugh of the Arctic Studies Center and Paula T. DePriest of the Museum Conservation Institute. I hope you can join us for what promises to be a fascinating discussion.

After that comes something completely different. Sion Sono is famous as one of the bad boys of Japanese cinema, whose movies usually serve up heaping helpings of violence and sexual perversity. But The Whispering Star is something else entirely. Inspired by the devastation wrought by the Fukushima nuclear disaster (and partly filmed on location there), the film imagines a ruined future Earth, where the few remaining residents are so traumatized that a visiting robot must speak in a whisper lest she scare them away. Far from a glum dystopian fantasy, Sono’s film is an imaginative, often amusing, and, dare I say, even cute sci-fi parable. Shhhh!

#5WomenArtists: Lara Baladi

Oum el Dounia; Lara Baladi (b. 1969, Beirut, Lebanon); 2000–2007; wool and cotton; courtesy the artist

Oum el Dounia; Lara Baladi (b. 1969, Beirut, Lebanon); 2000–2007; wool and cotton; courtesy the artist

Throughout Women’s History Month, we’re joining the National Museum of Women in the Arts in highlighting and celebrating women who are artists. We’ll introduce female artists throughout Asian art history, as well as those who currently grace our galleries with contemporary works. Use the hashtag #5womenartists to join in.

Overwhelming and vibrant, peppered with fairytale characters and archival images, artist Lara Baladi‘s contemporary vision of Egypt currently greets visitors to the Freer|Sackler. Born in 1969 in Beirut, Baladi is an Egyptian-Lebanese photographer and multimedia artist. Now based in Cairo, she created this digital tapestry—titled Oum el Dounia, Arabic for Mother of the World, a common nickname for Egypt—as part of her interest in the global perception of the country, as well as in the way technology affects visual narratives. The monumental piece, which stands nearly 10 feet tall and more than 29 feet wide, also reflects time she spent near the Bahariya Oasis in Egypt’s western desert: “traveling by jeep with friends, picnicking, and camping beneath the stars.”

“In thinking about how to represent my experience of the desert, I looked to fairytales such as Alice in Wonderland and The Little Mermaid, old picture postcards and my own archive,” Baladi recalled. “The resulting collage is a dreamlike journey, turning the stereotypical image of the desert upside down.”

Lara Baladi. Photo courtesy of Arts at MIT

Lara Baladi. Photo courtesy of Arts at MIT

Baladi’s firsthand experience of the events in Tahrir Square in 2011 marked a significant shift in her artistic practice. During the demonstrations, she began amassing a digital archive of videos, photographs, and articles related to the events in Egypt as well as other major occurrences around the world. This effort became an ongoing art and research project titled Vox Populi, through which she explores how technology can enhance access to materials that document revolution and the stories they tell.

Explore Vox Populi and Oum el Dounia online, and visit us to see Baladi’s work in person.

The Beauty of Afghanistan

steve mccurry

Photographer Steve McCurry shared the beauty of Afghanistan with the world more than thirty years ago, when his captivating photo Afghan Girl stared out from the cover of National Geographic magazine. A few weeks ago on Instagram, he asked the public to post their own interpretations of Afghanistan’s beauty for the opening of our exhibition Turquoise Mountain: Artists Transforming Afghanistan. We’ve been following the responses using the #turquoisemountain hashtag, which are also featured in the exhibition itself. Below are a few of our favorite shots that you’ve posted of Afghanistan and of your experiences in the Turquoise Mountain galleries.

 

jprobertson

scott.liddle

shaghaye

sirensenyook

 

karonf

 

lagoarthurstudio

 

livbowen

Remembering A Memorial

Left: the Jefferson Memorial in Washington, DC (Joe Ravi, CC-BY-SA 3.0). Right: Mausoleum of Cyrus, Ernst Herzfeld, Iran, 1905–28.

Left: the Jefferson Memorial in Washington, DC (Joe Ravi, CC-BY-SA 3.0). Right: Mausoleum of Cyrus, Ernst Herzfeld, Iran, 1905–28.

Imagine Washington, DC, abandoned and half-submerged into the Atlantic. The rounded dome of the Jefferson Memorial is visible like a little white island, but no one remembers the structure or its origins. Imagine New York covered with layers and layers of sands, the Chrysler Building in ruins, and the identity of the Statue of Liberty forgotten.

A doomsday scenario? The plot for a science fiction movie? A little far fetched? Maybe, but not when compared to the fate of Pasargadae, the magnificent capital of the Achaemenids (550–330 BCE), the first empire of the ancient world. It was built by the empire’s founder, Cyrus the Great (reigned 550–530 BCE), who conquered much of the Near East within a twenty-year period. He was known for his military skills as well as his tolerance: in 539, when he conquered Babylon, Cyrus allowed the Jews and other prisoners to return to their homeland.

Pasargadae was located in southwestern Iran, in the so-called “plain of the water bird.” Introducing a new architectural plan that would be widely emulated, the palace complex was centered on a large garden and included striking columnar palaces and pavilions, as well as Cyrus’s tomb. It was a pivotal site of the ancient world. Even when the Greeks conquered the Achaemenids in 330 BCE, Alexander the Great visited Pasargadae and paid his respects to Cyrus.

View of dasht-i murghab, or "plain of the water bird"

Over the years, however, Pasargadae gradually fell into neglect and was largely forgotten in favor of nearby Persepolis, built by Darius I (522–486 BCE). In the thirteenth century, a local ruler transformed Cyrus’s tomb into a mosque using stones and columns from the nearby palace. According to fifteenth-century Western travelers to the area, very little of the capital and the palace grounds remained, and the tomb was believed to be a woman’s resting-place. Although some scholars had speculated that the site was that of ancient Pasargadae, it was only in 1908 that the celebrated German archaeologist Ernst Herzfeld identified it beyond any reasonable doubt as the royal capital of the Achaemenid Empire.

Even if not much of the once-magnificent capital still stands, thanks to Herzfeld’s efforts, Pasargadae and the tomb are once again linked to Cyrus the Great. The story is a poignant reminder of the passage of time and the power of our collective memory. Experience it in person in Heart of an Empire: Herzfeld’s Discovery of Pasargadae, on view through July 31.

A New Day: Celebrating Nowruz

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Nowruz, the Persian word for “new day,” coincides with the vernal equinox and the first day of spring. Rooted in Zoroastrianism, the religion of Iran before the founding of Islam, Nowruz was celebrated in much of the ancient Near East as early as 3000 BCE. Today, people in many countries—from Iran, Iraq, Afghanistan, Albania, Turkey, Turkmenistan, Kazakhstan, and Kyrgyzstan to India and Pakistan—participate in the thirteen days of Nowruz festivities with their own local variations.

A Haft sin table at the Freer|Sackler's annual Nowruz celebration

A Haft sin table at the Freer|Sackler’s annual Nowruz celebration

The centerpiece of the Nowruz celebration is the Haft sin table. It includes at least seven (haft) items that refer to new life and renewal. Although the custom has regional variations, in Iran each of the seven items begins with the letter s (pronounced seen in Persian).

  1. sib (apples): fertility and beauty
  2. sonbol (hyacinth): fragrance
  3. serkeh (wine vinegar): immortality and eternity
  4. senjed (wild olives): fertility and love
  5. sabzeh (wheat, barley, or lentil sprouts growing in a dish): rebirth
  6. samanu (wheat sprout pudding): sweetness
  7. sekkeh (coins): wealth

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Other symbols of good luck can also be placed on the table, such as:

  • A mirror, to reflect the light of wisdom and creation
  • A book of poetry by the fourteenth-century writer Hafiz or a copy of the Qur’an
  • An orange floating in a bowl of water, to represent Earth floating in space
  • Candles, to symbolize holy fire
  • Decorated eggs, to represent fertility

Join us Saturday for a scaled-down version of our annual Nowruz celebration!

#5WomenArtists: Sughra Hussainy

Sughra Hussainy

Sughra Hussainy

Throughout Women’s History Month, we’re joining the National Museum of Women in the Arts in highlighting and celebrating women who are artists. We’ll introduce female artists throughout Asian art history, as well as those who currently grace our galleries with contemporary works. Use the hashtag #5womenartists to join in.

This Saturday, we debut Turquoise Mountain: Artists Transforming Afghanistan, an exhibition on the eponymous organization that is reviving traditional Afghan crafts. Artisans from Afghanistan will visit us throughout the show’s run, sharing their stories and their creations.

The first artisan to make her way to DC is Sughra Hussainy. At the age of fifteen, Hussainy was orphaned and left to care for her siblings by herself. Hoping to generate income to support her family, she began studying calligraphy and miniature painting at the Turquoise Mountain Institute.

Turquoise-Mountain-Artisan-Soghra-Hussaini-2

Hussainy, who is now studying fine art at Kabul University, is regarded as one of Afghanistan’s most promising young artists. She has received a number of international commissions and has showcased her work at several exhibitions in Kabul and the United Kingdom.

Meet Hussainy and see her work when Turquoise Mountain debuts on March 5. Have questions? Share them with us, and we’ll pass them on to our artisans.

How Did Turquoise Mountain Get Its Name?

Since 2006 Turquoise Mountain has worked in partnership with the community of Murad Khani, providing employment, education, healthcare, and a renewed sense of pride. Image courtesy Turquoise Mountain

Since 2006, Turquoise Mountain has worked in partnership with the community of Murad Khani, providing employment, education, healthcare, and a renewed sense of pride. Image courtesy Turquoise Mountain

Turquoise Mountain is named after a fabled lost city, located in what is now central Afghanistan. The city was destroyed in the early 13th century by Ögedei Khan, son of Genghis Khan.

The charity’s name was chosen by its founder, Rory Stewart, who walked across Afghanistan in the winter of early 2002. During his walk, Rory Stewart passed the Minaret of Jam, a two hundred-foot structure built around 1190 CE, located in a remote and largely inaccessible area of Ghor province in central Afghanistan. This minaret is likely one of the last surviving elements of the city of Turquoise Mountain. Stewart decided to name the charity after this lost city as a symbol of the rebirth and revival of Afghanistan’s once-proud cultural heritage.

Read Stewart’s New York Times piece on his travels, and experience the wonders of Afghan art when Turquoise Mountain: Artists Transforming Afghanistan opens March 5.

Behind the Scenes of “Turquoise Mountain”

Dedicated to teaching a new generation of Afghan artisans in woodwork, calligraphy, ceramics, jewelry design, and other crafts, Turquoise Mountain is reviving Afghanistan’s proud cultural legacy. To share this transformative story of people, places, and heritage in Afghanistan, the Freer|Sackler is recreating a visit to Old Kabul for Turquoise Mountain: Artists Transforming Afghanistan, opening March 5. Tommy Wide, director of exhibitions at the organization, takes us behind the scenes of our forthcoming presentation. 

We wanted this show to be an exploration and celebration of Afghan contemporary art and culture. We wanted to capture the voices and ideas of the remarkable team of people in Afghanistan who have regenerated Murad Khani, a district of Old Kabul, and are leading the revival of Afghanistan’s artisan crafts. The exhibition, which is now being installed, features sections dedicated to several of these art forms.

Ceramics
I started planning the show by talking to artisans whom I have worked with for many years at Turquoise Mountain. Abdul Matin Malekzada, whom I first knew as a student at the institute, now runs his own ceramics business and teaches at the Turquoise Mountain Institute.

Left to right: Abdul Matin Malekzada and Tommy Wide

Left to right: Abdul Matin Malekzada and Tommy Wide

Abdul Matin was interested in focusing on the process of ceramic production, the different stages needed to make a traditional bowl, and the sheer work that goes into making a single piece. We decided to make a long film in his village, Istalif, which would show the whole process of making one bowl. Our filmmaker, Lalage Snow, and I drove up to Istalif at 4 am one October morning to film a day of pottery making with Abdul Matin and friends. It was special for me to come back to Istalif, a place where I had worked in 2007 and 2008, and where I had learned to speak Dari, one of the languages of Afghanistan. The weather was beautiful, and we got some lovely photos to go along with our film. Here is Abdul Matin (center) with his friends Abdul Wahab and Masoud, on their way to look for a clay seam in the hills around Istalif.

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We designed a display that will show bowls in different stages of production and includes lots of bowls on the wall—a reference to the bowls lining the famous pottery bazaar in Istalif (below). We’re even hanging the bowls the same way, fastening wire loops around the bases that slip over nails hammered into the wall.

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Woodwork
For the woodwork sections, we relied on the vision and creativity of Ustad Nasser Mansouri, one of the Islamic world’s finest woodworkers. I have worked with Ustad Nasser for many years and have always been in awe of his design ability and technical skills. In cooperation with our head engineer, Hedayat Ahmadzai, we decided to recreate part of one of our favorite buildings, the Double Column Serai, which Ustad Nasser had helped restore in 2007–9. Below are photos of the building and of Ustad Nasser with the columns he made for the exhibition.

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To share our plans with the exhibition team at the Freer|Sackler, we made a model version of the building’s arches out of Himalayan cedar and sent pictures and diagrams to DC.

Exhibition arch in miniature

Exhibition arch in miniature

Seeking inspiration for the rest of the woodwork sections, Ustad Nasser and I walked around Old Kabul looking at buildings. Ustad Nasser had been a refugee in Iran as a young man and always said that Kabul’s historic buildings taught him a great deal about Afghan history and culture. He thus decided to make jali (latticework) panels to reference a historic Afghan design, examples of which he and I photographed last August while visiting a shrine in Asheqan-o-Arefan.

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Ustad Nasser started working on pieces in his workshop in western Kabul. I was particularly struck by his jali geodesic dome, made by hand without nails or any industrial machinery. It reminded me of Buckminster Fuller’s designs from the 1960s, and I enjoyed showing Ustad Nasser photos of Fuller’s work. Ustad Nasser’s piece seemed perfect for the show—illustrating the way Afghan artisans are playing with traditional motifs and techniques in their strikingly original creations.

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Ustad Nasser also designed the large walnut jali panels you’ll see when you enter the exhibition. They’re designed to give a glimpse of the show while distinguishing the semicircular entry area from the rest of the gallery. Ustad Nasser made sure the jalis could be packed in small crates and reassembled—without nails—in DC.

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The panels were so beautifully made that they slotted together perfectly once they arrived. The installation team, pictured here installing the pieces, was amazed that they were made entirely by hand.

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Calligraphy
We worked with a team of young calligraphers to realize their vision for the calligraphy section of the show. First stop was Samira Kitman, a young calligraphy business owner whom I’ve worked with for several years. She discussed the need to use natural pigments, and she and I had fun looking at gold leaf and the pigments she used in her work.

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Jewelry
Turquoise Mountain graduate Saeeda Etebari, one of the most talented young jewelers in Afghanistan, created a special piece for the exhibition’s jewelry section. Very excitingly for Saeeda and for us, the United Kingdom-based designer Pippa Small then agreed to work with Saeeda to make a one-off piece. Pippa visited Kabul several times to design with Saeeda, and they established a deep bond. Watching Pippa and Saeeda work together was a joy for us all. Here they are collaborating on the piece with Javid Noori, a jewelry teacher at the Turquoise Mountain Institute.

Left to right: Javid Noori, Saeeda Etebari, Pippa Small

Left to right: Javid Noori, Saeeda Etebari, Pippa Small

Carpet
I wanted something spectacular for the carpet section, so I turned to one of the most exciting carpet designers in the world, Erbil Tezcan. Erbil is based in New Jersey and has been working with Afghan carpet-makers for several years. I gave him a simple task: make something really special that tells a story of Afghanistan. The result, which Erbil is shown working on below, was the Afghan history carpet that you’ll see in the exhibition. It traces the evolution of Afghan carpets by weaving together more than twenty historic designs.

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We wanted the piece made wholly in Afghanistan rather than having it finished in Pakistan, which is often the case with Afghan carpets. It took a team of weavers in Dawlatabad several months to weave the rug. Finally, in September 2015, it was sent to Mazar-e Sharif in northern Afghanistan to be washed.

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The history carpet was then shipped to DC, where it spent several weeks undergoing CO2 treatment to kill off any insects. It was a nerve-wracking moment when Kenny Mitchell of the Roto design firm, who is heading the exhibition’s installation, opened up the carpet for the first time. I’d seen carpets ruined in transit from Afghanistan, so I was holding my breath. Luckily, this one was beautiful and intact.

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Finishing Touches
We wanted the exhibition to involve as many people from Murad Khani as possible. A few of the community’s skilled women tailors made the cushions for the show’s central pavilion—a place to catch your breath, watch the beautiful films, and learn more about Afghanistan through our specially designed interactive map.

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Now that everything has arrived safely in DC, we’ve spent the last week installing the pieces in the exhibition space. Miraculously, none of the several tons of woodwork we shipped was damaged, and everything seems to fit together well. We’ve been very lucky, too, that one of our Afghan engineers, Hedayat Ahmadzai, has been with us, advising the installation team as they get everything set up.

Left to right: Joseph Patterson and Hedayat Ahmadzai

Left to right: Joseph Patterson and Hedayat Ahmadzai

We can’t wait to show you the final result when Turquoise Mountain: Artists Transforming Afghanistan opens in just a few weeks.