Kubra Khademi in "Qatra Qatra" Exhibition

Kubra Khademi’s work may be found in both the Imago Mundi Afghanistan Collection curated in 2013 and here as part of Qatra Qatra exhibition. Once can see the work in 2013 as a preliminary exploration into a drawing style through which she finds full fruition in the artwork of this exhibition held at Gallerie delle Prigioni from 25 November 2021 until 9 January 2022.

Khademi exhibited 5 of her drawings (gouache on paper) of large and medium dimensions: The Warm War (2019) and 4 drawings from the Ordinary women series (2020).

Kubra Khademi exhibited also a series of 25 small drawings entitle Female Crimes, installed within the various small openings of several cell doors of Gallerie delle Prigioni in Treviso.

Female Crimes is also the name of her new performace, done on 25 November 2021 (the international day for the elimination of male violence on women): the visitor was able to see live individually through a cell’s small viewing slot at Gallerie delle Prigioni in Treviso.

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The Warm War (dyptich)

2019, gouache and gold leaf on paper. Courtesy of the artist and Galerie Eric Mouchet

Ordinary Women

2020, series of gouache on paper. Courtesy of the artist and Galerie Eric Mouchet

Female Crimes

2021, series of gouache on paper. Courtesy of the artist and Galerie Eric Mouchet

Femal Crimes

25 November 2021, performance and video

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Kubra Khademi's bio and poetics

Kubra Khademi (Kabul, 1989) is a visual artist and feminist who explores her life as a refugee and as a feminist woman through her work. She completed her BFA at Beaconhouse National University in Lahore where she began to create public performance. After returning to Kabul, the nature of her work on sexual harassment and a male-dominated society forced Khademi to flee her home country. She currently lives and works in Paris, where in 2016 she was given the title of Knight of Art and Literature (Chevalier de l’Ordre des Arts et Lettres) by the Ministry of French Culture.

Khademi works from memory on “the stories we were told as children” about religious figures and prophets who accomplished great feats of heroism. Taking these tales and myths she heard as a child, Khademi provides us with a feminist re-reading and re-appropriation of these traditionally patriarchal narratives. Through this rebellious act of revisiting and re-realising history, Khademi effectively empowers herself and all Afghan women.

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