Carmignac Photojournalism Award - 14th edition Afghanistan: No Woman's Land

An Intimate Look into the Battle for Women’s Rights in Afghanistan

A COLLABORATIVE REPORT BY MÉLISSA CORNET AND KIANA HAYERI

The 14th edition of the Carmignac Photojournalism Award is dedicated to the condition of women and girls in Afghanistan following the return of the Taliban to power in August 2021. The Award was granted to the reporting project proposed by the duo of Canadian-Iranian photojournalist Kiana Hayeri and French researcher Mélissa Cornet, which was produced over a six-month period with the support of the Fondation Carmignac.

Over the course of the last six months, Kiana and Mélissa travelled to seven provinces in Afghanistan* to investigate the conditions imposed on women and girls by the Taliban, which, according to Amnesty International's research, could constitute a possible crime against humanity of gender-based persecution.

They met with more than 100 women and girls, barred from going to school, forced to stay at home, women journalists and activists continuing to fight for their rights, mothers watching with horror as history repeats itself for their daughters, as well as LGBTQI+ individuals. They documented how the Taliban, allowed by a deeply patriarchal society, have systematically erased women from society, taking away their most basic rights: to go to school, to university, to work, to travel, to dress as they wish, to go to public baths, to parks, or even to the beauty salon.

The starkest change that Kiana and Mélissa noted since August 2021 was the general loss of hope among women that things might improve for them, as dreams of having an education and becoming members of society were shattered before them, becoming the primary victims of recurring economic and food crises, and a health system that has all but collapsed. In the words of one women’s rights activist, who has since left the country, seeing no future for herself in Afghanistan: ''We have forgotten joy, we don’t know from where any can be found. I’ve lost all motivation. I cry alone, hidden. It’s as if someone has locked me in a room and won’t let me outside. Even food has no taste.''

Kiana and Mélissa used different media to document this highly sensitive situation, including photographs, sketches, and videos, but also art created collaboratively with Afghan teenage girls.

Jalal Abad, Nangarhar, Afghanistan, February 12, 2024. A family, recently deported out of Pakistan has temporarily settled in suburban neighbourhood of Jalal Abad in eastern Afghanistan. Hundreds of thousands of Afghans have been forced out of Pakistan following the ongoing crackdown on illegal foreigners, some of which after decades of living in Pakistan. Women and girls are the most affected by the consequences of forced displacement, with for example high rates of child marriage.

Kabul, Afghanistan, February 17, 2024. In West Kabul, a private institute teaches 700 high school girls the American curriculum in English, though they can't earn Afghan education certificates or attend university locally, as women's education is restricted. Remarkably, the school has tacit approval from local Taliban authorities. Security measures are strict, with armed guards monitoring entrances. Despite prior bombings, the institute remains full, with students aspiring to study abroad. Girls' high schools haven't reopened post-Taliban, limiting education to grade 6. Yet, underground schools persist, educating girls at great peril in homes, mosques, and other venues.

Kabul, Kabul, Afghanistan, February 3, 2024. Girls playing in the snow in western Kabul behind an apartment block, off the main road. Since the takeover, women and girls' rights to move without a male chaperon or to go to parks have been curtailed, and very few opportunities to find joy in their daily lives remain. A snowstorm in a quiet neighbourhood of Kabul western suburb offered such a chance for an hour of playing together. Even then, an eye is always kept on the surroundings, looking for a sign of a Taliban patrol.

Yamit District, Badakhshan, Afghanistan, May 10, 2024. Kheshroo's daughter and her cousin, both grade 11 students who were put out of school, committed suicide a year before by throwing themselves in the water. The family plays in puddles of water, among troops of yaks, horses and goats, in front of the Wakhan mountains, Wakhan, a region that had never been controlled by the Taliban before 2021.

Virginia Hanusik: Into the Quiet and the Light

By Virginia Hanusik

Publisher : Columbia Books on Architecture and the City

2024 | 184 pages

In South Louisiana, where the Mississippi River meets the Gulf of Mexico, water―and the history of controlling it―is omnipresent. Into the Quiet and the Light: Water, Life, and Land Loss in South Louisiana glimpses the vulnerabilities and possibilities of living on the water during an ongoing climate catastrophe and the fallout of the fossil fuel industry―past, present, and future. The book sustains our physical, mental, and emotional connections to these landscapes through a collection of photographs by Virginia Hanusik. Framing the architecture and infrastructure of South Louisiana with both distance and intimacy, introspection and expansiveness, this work engages new memories, microhistories, anecdotes, and insights from scholars, artists, activists, and practitioners working in the region. Unfolding alongside and in dialogue with Hanusik’s photographs, these reflections soberly and hopefully populate images of South Louisiana’s built and natural environments, opening up multiple pathways that defy singularity and complicate the disaster-oriented imagery often associated with the region and its people. In staging these meditations on water, life, and land loss, this book invites readers to join both Hanusik and the contributors in reading multiplicity into South Louisiana’s water-ruled landscapes.

With texts from Richie Blink, Imani Jacqueline Brown, Jessica Dandridge, Rebecca Elliott, Michael Esealuka, T. Mayheart Dardar, Billy Fleming, Andy Horowitz, Arthur Johnson, Louis Michot, Nini Nguyen, Kate Orff, Jessi Parfait, Amy Stelly, Jonathan Tate, Aaron Turner, and John Verdin.

Rawsht Twana: Twana’s Box

By Rawsht Twana

Publisher : Fraglich Publishing

2024 | 252 pages

Twana’s Box' can be described in many ways: a journey through a photographer’s rare archive, documenting the Kurdistan region of Iraq from 1974–1992; a son’s quest to find his lost father, who was murdered by a military regime; a young man’s way to piece together the fragments of a scattered family in a scattered culture; the becoming of a photographer who, through the stories of others, starts to understand his own identity in times of war. 'Twana’s Box' is not only the photo book that holds a selection of Twana Abdullah’s archive; it is a unique insight into a time and place in a region that has since completely transformed. Rawsht has spent years piecing together his father’s negatives and stories. His archival work inspired him to become a photographer himself, working for Metrography – the first independent Iraqi photo agency – before immigrating to Europe. ills colour & bw, 21 x 27 cm, hb, Kurdish/Arabic/English

Akinbode Akinbiyi: Being, Seeing, Wandering

By Akinbode Akinbiyi

Publisher : Spector Books

2024 | 252 pages

Taken across Europe and Africa, Akinbiyi’s images of everyday city life muse on the sociopolitical labyrinths of urban society

Whether in Bamako, Berlin, London, Lagos or Durban, British photographer Akinbode Akinbiyi (born 1946) creates black-and-white street scenes that function as visual metaphors, ruminating on cultural change, social exclusion and colonialism’s effect on urban planning.

Grace Wales Bonner: Dream in the Rhythm

By Grace Wales Bonner

Publisher : The Museum of Modern Art, New York

2024 | 184 pages

A deeply personal meditation on and around modern Black expression, curated by the acclaimed London-based designer
This volume, Grace Wales Bonner: Dream in the Rhythm―Visions of Sound and Spirit in the MoMA Collection, is an artist’s book created by the acclaimed London-based designer Grace Wales Bonner as “an archive of soulful expression.” Through an extraordinary selection of nearly 80 works from The Museum of Modern Art’s collection and archives, this unique volume draws multisensory connections between pictures and poems, music and performance, hearing and touch, gestures and vibrations, and bodies in motion. Photographs, scores and films by artists such as Dawoud Bey, Mark Bradford, Roy DeCarava, Lee Friedlander, David Hammons, Glenn Ligon, Steve McQueen, Lorna Simpson and Ming Smith, among others, are juxtaposed with signal texts by Black authors spanning the past century, including Amiri Baraka, Nikki Giovanni, Langston Hughes, June Jordan, Robin Coste Lewis, Ishmael Reed, Greg Tate, Jean Toomer, Quincy Troupe and Lynette Yiadom-Boakye. Published on the occasion of the exhibition Artist’s Choice: Grace Wales Bonner―Spirit Movers, this resplendent publication is a deeply personal meditation on and around modern Black expression that echoes Wales Bonner’s own vibrant, virtuosic designs.

Carmignac Photojournalism Award - 14th edition Afghanistan: No Woman's Land

An Intimate Look into the Battle for Women’s Rights in Afghanistan

A COLLABORATIVE REPORT BY MÉLISSA CORNET AND KIANA HAYERI

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