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Years: 18
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What is my nationaly: Cambodian
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What is my sex: Female
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The s saw an old poem by Walt Whitman take off on social media. The website Tumblr, urged by alt stars like Lana Del Rey, fell in love with the old essayist and journalist who died in

About me

Public space in France and the Parisian art scene are still very masculine, but in a far more subtle and sophisticated way. When I wasmy mother took us to bathe in a public, woman-only hammam. We have to celebrate living without any guilt. I was prepared to be mocked, insulted, laughed at — those are daily things we experience as working, active women.

I was so scared. I was already drawing a lot then, so I took my sketchbook and started drawing what I had just seen: all these female figures. The world was in shock; my country was in shock.

I was lucky I stayed alive. Once again, local media spoke about it, as I was being criticized for being a spy and a puppet of the United States that wanted to gain the attention of the West. I could not draw. Her work spans performance, painting, and drawing.

I tore them up and hid them under a carpet because I had this fear. Before Armorthat was how I was working in Afghanistan.

Marie calloway was reviled by the internet. then she disappeared.

KK: I have a clear position toward the women in my drawings. These women in my paintings are not nude. The act of walking is also reminiscent of female artists who used their body as artistic material in the s. PE: I see it as an artistic work. My society wanted to imprison me, make me a wife, a mother, but I wanted freedom. It was there that I saw the adult female sex for the first time. I remember so clearly how my head was down for months, the feeling of pain in my neck. When I draw today and leave expanses of white space, it is such a celebration for me, that I can buy these big sheets of white paper.

Very few women feel able to talk about it. However, my performance was not an image that people saw daily. But I also come from a world where I should not be present. After I arrived at the end point, where my friend was waiting for me in a taxi, people started jumping on the car. Why should I reproduce what it has done? That is how they get their value.

To this day, I still receive messages of hate on Instagram from Afghan people. I felt fear but also assured. PE: When you moved to France, you continued to put on walking performances. I have five sisters and four brothers. In the last year, Khademi finished a series of large-scale paintings and drawings. Sincethe Afghan artist Kubra Khademi has been based in Paris. I then hid my drawings. While I was performing Armorthe of men around me increased every few seconds. And outsiders perceived my work as activism.

To me, they are not naked; they are just bodies. And women also practice patriarchy. The series draws on the writings of the poet Rumi in a homage to the particular form of language that Afghan women use when they discuss their sexuality.

The city is like that blank white again. They are inspired by the way Afghan women express their sexuality through a coded and subversive poetic language that remains unrecognizable to men. When my father died, my brother took over.

Getting naked in iceland during covid

The gouache paintings depict a matriarchal society, in which nude women engage in sexual and vulgar acts. The image then started circulating internationally, which made it worse because people in the Western world admired it. It was a very secure and trusting environment; I saw so many free, female bodies. By the time I moved to France, I was in ificant danger.

When I turned on my phone the next day, I saw that it was all over the news and social media.

I am unmarried. Paper was very expensive anyway. We live in a culture of systemic sexual violence. Khademi moved to France due to the violence she faced in the wake of her performance Armor, for which she walked through a busy area in central Kabul dressed in custom-made metal armor: an artistic gesture meant to highlight how women are sexually and verbally harassed in public spaces. My image was shaking the country. Could you, as an artist and as a woman, speak about this refusal to disappear in relation to physical presence as a political act?

KK: The challenges are different here: the texture and sense of the landscape, the cityscape, the people around me. I was paralyzed. The performance was presented as a project of the United States against Islam values, as blasphemy, as encouraging female prostitution. That was painful for me. I put colour on their bodies, and I called it Twenty Years of Sin.

When people see that drawing, they do not fully understand what it means to me, neither back then nor now.

Distractio infinita

The driver was frightened because he was in danger, so he started driving without looking back. Both issues are historical as well as deeply personal to you. It was out of control. There is an insistence on the body, on being seen, and a profound emphasis on the female subjectivity, all as a form of resistance. I assumed that it soon would be forgotten, but that was naive. These artists developed revolutionary ways to speak about violence against women, about censorship, or harassment, through a performative language and by provocatively staging feminine vulnerability and endurance in the act of spectacle.

I do not care about it.

I find that so disturbing. She got the electric fire and hit me with it. That was the first performance I put on in a public space after then one in the Kabul. Women have to serve the soldiers; they have to cook for them. I have been sexually harassed like millions of other women in Afghanistan. That was what the performance was about: this is the way it is. No one harasses me in Europe like they do in Afghanistan. KK: I am so happy that there is no guilt anymore. KK It reflects the heart of popular Afghan society: the men are outside, and the women have to be in the kitchen.

When I came to France inafter twenty-six years, I started talking about these experiences. Skirts are sexist! The guilt was more painful than that electric fire on my body.

Seeing your performance only as a protest piece minimizes the depth of these artistic considerations and intentions. My mum was cleaning and found the drawings a few days later.

Various artists

Religion plays a big role in serving the patriarchy, or perhaps it is patriarchy that serves religion. You had made it in response to the violent patriarchal politics of Afghanistan, particularly to how women are sexually assaulted and harassed in public spaces.

I tried to re-draw that image from the hammam. KK: Seeing it as an activist project implies judgement.

Your data. your experience.

It is an art piece. I hung my head in shame for months; I could not raise it. The image of me is almost funny. Of course, there are gestures within the work which could be thought of as activism, but it is art. KK: No one spoke about it. I talk about them; I talk about myself, about my mother, about my sisters. It was a few months after I arrived. The suit of armor, the costume of war, creates a striking image of protection and aggression, but it is contrasted with this enhancement of the female form, exaggerating the softness and vulnerability of the unclothed body.

This is how I show femininity.