maarnayeri

fotojournalismus:

Day 19: Palestinian death toll passes 1,000 | July 26, 2014

Thousands of Gaza residents who fled the violence streamed back to devastated border areas during Saturday’s 12-hour humanitarian truce to find large-scale destruction: fighting pulverized scores of homes, wreckage blocked roads and power cables dangled in the streets. In northern Beit Hanoun, even the hospital was badly damaged by shelling. Across Gaza, more than 130 bodies were pulled from the rubble on Saturday, officials said. In southern Gaza, 20 members of an extended family were killed before the start of the lull when a tank shell hit a building where they had sought refuge. (Sources: 1, 2, 3)

Pictures from Beit Hanoun & Shejaiyah during a pause in the bombing by Israeli forces:

1. A general view of destruction in the Shejaia neighbourhood. (Mohammed Salem/Reuters)

2. Palestinians carry belongings they find at their destroyed houses in Beit Hanoun. (Sergey Ponomarev for The New York Times)

3. A Palestinian man looks staggered after seeing his home destroyed, while visiting the area during a 12-hour cease-fire in Shejaiyah neighbourhood. (Khalil Hamra/AP)

4. Palestinians inspect the damage of their destroyed houses in Shejaiyah neighbourhood. (Khalil Hamra/AP)

5. Palestinians recover the body of a man killed when his home was hit the previous night by Israeli fire in the northern district of Beit Hanoun. (Marco Longari/AFP/Getty Images)

6. A mare and her foal walk along the debris of destroyed buildings in the northern district of Beit Hanoun. (Mohammed Abed/AFP/Getty Images)

7. Palestinians survey the damage in Beit Hanoun. (Marco Longari/AFP/Getty Images)

8. Children wait for their parents, who collect belongings from their destroyed houses in Beit Hanoun. (Sergey Ponomarev for The New York Times)

9. A general view of destroyed buildings after Israeli attacks in a part of the Shuja’iyya neighbourhood. (Oliver Weiken/EPA)

10. Palestinian women react amid the destruction in the northern district of Beit Hanoun. (Marco Longari/AFP/Getty Images)

(Sources: 1, 2, 3, 4, 5, 6, 7)

mangoestho
mimiwao:

Frida’s last public appearance, on July 2, 1954, at a rally protesting C.I.A. involvement in Guatemala.  Diego is behind her.  Juan O’Gorman to her right.
“What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation.”
—Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via mayalikeskafka)

mimiwao:

Frida’s last public appearance, on July 2, 1954, at a rally protesting C.I.A. involvement in Guatemala.  Diego is behind her.  Juan O’Gorman to her right.

What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation.

—Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via mayalikeskafka)