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| Taliban fighters take refuge behind armour as they try to move up the Panshir valley against government forces. 1996. Photo © Chris Steele-Perkins/Magnum Photos |
| "For me the pièce de resistance of show is Christopher Anderson. He seems to be an invisible observer amongst the Talibans, blending in and sympathetic." |
Words by Zarina Holmes
I’m tired of Afghanistan. I mean sordid news about Afghanistan.
I even took the time to search the topic on Wikipedia. It says, “The War in Afghanistan, which began on October 7, 2001 as the U.S. military operation Operation Enduring Freedom, was launched by the United States with the United Kingdom in response to the September 11 attacks.”
I was not convinced; the war seems longer than that.
So I wikied "Soviet War in Afghanistan". This result came up: “The Soviet war in Afghanistan was a war fought between the forces of the Soviet Union, and Islamic tribes of Afghanistan who were against the Communist government set up by the Soviets. The war began in December 1979, and lasted until February 1989.”
Okay, this was when Afghanistan was the good guy; Rambo fought for them and no one was labelled 'Taliban' yet.
To be honest, I am still confused about the insurgence issues, poppy farms and the soldier boys we keep sending to Helmand province only to return in body bags.
Politic has never been my strongest repertoire.
But today, I visited Magnum Print Room with a photographer friend from Rome, Stefano D’Amadio.
I had received Magnum newsletter announcing a one-month extension to Bitter Fruit: Picture from Afghanistan, an exhibition I thought I have missed.
It is not the easiest venue to reach for visitors. The place is tucked in a small side street of East London and only opens from 11.00am to 4.30pm on weekdays.
“It functions as an office more than a gallery”, explained the receptionist when asked.
I take that onboard. The room does look like an editorial working space with desks in the middle and photography reference books on the walls.
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| A Mujahid of the Hezbi-Islami (Islamic party led by Gulbuddin Hekmatyar) guards the road to the capital. Near Kabul, Afghanistan. 1992. Photo © Abbas/Magnum Photos |
| "Not surprisingly, he was awarded Robert Capa Gold Medal in 2006. His images make me think, I don’t want to be there." |
Bitter Fruit presents a line-up of photojournalism heavyweights such as Chris Anderson, Steve McCurry, Abbas, Chris Steele-Perkins, Eve Arnold, Paolo Pellegrin, Alex Majoli, Raymond Depardon, Larry Towell and Thomas Dworzak.
The first impression of the exhibition make us understood the calibre of Magnum photographers.
Brave, uncompromising and exceptionally talented in relating their stories.
The subject, Afghanistan, really stands out and arranged in a smooth narrative flow.
Abbas captures surreal scenes – a Mujahid fighter seated on an abandoned bed by a lake and a forlorn bride with just her groom photo accompanying on her wedding day.
Thomas Dworzack’s Taliban faces are immortalised in original Afghani metal frames, airbrushed and camped-out ala David La Chapelle. The twist: some them are killers who had fled the war scene.
Steve McCurry's Afghan poster girl stares ahead with her famous emerald eyes.
Out of Nat Geo environment and flanked between war monochromes, McCurry’s portraitures are less saccharine.
We see a group of Afghan men making cosy a camp fire in the middle of a bombed out village and a boy selling oranges in Kabul, beautifully displayed on a burnt-out car.
The genius of McCurry is that he still finds grace and romance despite the depravation of Afghanistan.
Paolo Pellegrin documents the subject closely. In one photograph, a distant figure races towards a helicopter, swallowed by a blinding swirl of dust.
Not surprisingly, he was awarded Robert Capa Gold Medal in 2006. His images make me think, “I don’t want to be there.”
For me the pièce de resistance of show is Christopher Anderson. He seems to be an invisible observer amongst the Talibans, blending in and sympathetic.
Raymond Depardon’s photo sums up Bitter Fruit. A Mujahid fighter with glares furiously at the camera, strapped with ammunitions, and his hand, wedding ring on display, protectively clutching a frightened little boy.
The message is clear; there will be no winner in this war. We are the losers.
On my way out, my eyes caught a few monochrome prints lying on the desks. “They are not part of the show, we were just printing them out,” said the receptionist.
They were detailed scenes of a war execution in the 70s by a photographer named Ramsay.
The first scene is a line-up of captives. The second, captives flying-falling backwards mid-execution. The third, bodies strewn on the grass. The fourth, a man aiming at each body in the head with a handgun.
Stefano refused to look at them.
Somebody has to document it and it is Magnum.
Bitter Fruit: Pictures from Afghanistan is open until Friday 28th August. Print Room opening hours: Wed - Fri, 11.00am - 4.30pm. Magnum Print Room, 63 Gee Street, EC1V 3RS.
www.magnumphotos.com
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