Skip to content

Calling photographers

August 2, 2018
Kareem Fahim
Photo by Kareem Fahim on Twitter
I’ve been involved in “Al-Mutanabbi Street Starts Here” since the summer of 2008 when I responded to San Francisco poet Beau Beausoleil’s call for letterpress broadsides addressing the car-bombing of the street of booksellers in Baghdad. Through the project I’ve met many remarkable people – including Beau, whose thirteenth volume of poetry is in preparation at Barley Books.
The latest call is to photographers, and I reproduce the text of Beau’s most recent e-mail in full below.
I know that several followers of this blog are talented photographers, and I hope some of them may be moved to join this project.

Dear Artists, Poets, Writers, Academics, Teachers, Translators, and Photographers,

The 2007 car bombing of  al-Mutanabbi Street (the street of the booksellers) in Baghdad, Iraq was an attempt to erase culture and intimidate Iraq’s writers, artists, booksellers, cultural workers, and readers, it was a direct attack on free speech and the free exchange of ideas; likewise the targeted assassinations of hundreds of Iraq’s academics was an attempt to erase and intimidate those who teach, write, research, and work to carry knowledge and personal/collective memories forward. Free speech and the free exchange of ideas is as important in a university classroom as it is on al-Mutanabbi Street.

“Based on multiple sources, the Brussells Tribunal sifted through such reports and published the names of over 400 murdered academics and when they were killed. Although the exact total number of assassinated academics is not really known, the indefatigable advocate for human rights Dirk Adriaensens gives a detailed analysis of the data available so far in his contribution to the book, Cultural Cleansing in Iraq. According to Adriaensens, most of those killed were from the Universities of Baghdad (57 percent) and Basra (14 percent). In addition, 35 percent died in detention after being arrested/kidnapped by some security forces. The modus operandi for the killings was a professional, well-organized assassination. Fifty-four percent of the deaths occurred as a targeted killing, at point-blank range with hand guns or automatic weapons. The killing of academics did not follow any sectarian agenda since the murdered were Sunni and Shia. No one has taken responsibility for the killings, and no one has been arrested.”

From an article by Adil E. Shamoo – Foreign Policy In Focus – Jan 6, 2011

Our photography project, Shadow and Light, begins with this call. I’ve decided to use this list of Iraqi assassinated academics as a baseline for the project  .

I’ve done much thinking about professional photographers versus a fellow academic who submits a simple photo,  and came to the conclusion that since we are honoring targeted academics we don’t necessarily need a professional photographer, rather we need someone who understands what these assassinations meant as a fellow teacher. I’m asking for a simple landscape photo, indoor or outdoor, which can be accomplished without a whole lot of “technique” and it will perhaps be even more meaningful if it has been done by a fellow academic. I do welcome professionals, but the bottom line is understanding.

Perhaps the most daunting thing, for a non-professional photographer would be following the material guidelines to prepare the photo for the project.

Translators seem to fit into this category as they are often academics or teachers. And in a sense we are translating an image into a life taken.

If you understand this project and if you would consider joining you could simply take a picture of the first resonant empty space that you encounter.

Each photographer will choose the name of an academic and the details of their assassination as a reference point.  The photograph that we ask for should be a landscape photograph, either urban or in nature; what we are looking for with these photographs is a kind of “measured ground” for each viewer to see and cross as they approach the names and small accompanying details typed onto each card -the card to be placed below the photograph. The photograph could be an empty room or an open field, an urban parking lot or a grove of trees. Some measure of understanding needs to be traversed and the only life it should hold is the remnant of the person that the artist has chosen to represent from the accompanying card. A key element here is that each photograph is empty of people. The photograph itself buys us time with the viewer, as the image they encounter will lead them to the name of this academic and his or her violently taken life.

I’d ask that you read and watch the links below, and let the project sink to the bone before you begin. We have all seen exhibit goers “glide” through even the most compelling exhibition. Your photograph should try and hold them in a kind of emptiness that is palpable, an emptiness that has enough small details in it for them to slowly consider; and then their vision should drift down to the name you have chosen, and then once again up to your photograph. The photograph needs to be strong but it also has to give way to the name on that small card below it. I think you will know the balance when you see it.

We will never be just an Art Exhibit as long as we have a collective breath in us. We will mark each inhuman act, we will note and support each imprisoned activist writer and artist. We will not turn away, we will simply not turn away. And if our constant recitation of the phrase, “Al-Mutanabbi Street Starts Here” is an irritant to some, so be it.

Write me if you want to be part of this effort. Write me also with any questions

Beau Beausoleil
Beau Beausoleil – Founder – Al-Mutanabbi Street Starts Here

Guidelines –

1. 6 copies of one or two images (we ask that you choose images made after deciding to respond to this call.)

2. Photo Size – A standard photo size of 8×10 inches, 8.5×11 inches, or 11 x 14 inches. Please use the metric equivalent of these sizes.

3. Photographers can use any kind of paper they want.

4, We are open to various photographic processes including color inkjet prints, black and white analog darkroom prints,historical process prints etc.

5. Please include the usual exhibit details about your photographs: title of your print, your name, country, (subject’s name, print technique, etc.

6. The work needs to be sturdy and lightweight to keep shipping costs down. We display the broadsides and prints in clear archival cellophane sleeves which are relatively inexpensive ( 35 to 65 cents each) and can be hung with clips or magnets.

7.Work may be signed and dated on the front, but that is optional, and it is fine to do it on the back.

8. Please include an artist’s statement of up to 400 words. It’s important to remember that this is a project of art in the service of ideas rather than work for an “Art Exhibit”. I’d ask that you create, with your statement, a “point of entry” for what you are trying to get at or reflect upon with your photographs.

9. Each photographer will have six months from the date they join the project to contribute their work.

Our project, Al-Mutanabbi Street Starts Here, began in 2007 as an arts response to the car bombing of Al-Mutanabbi Street (the street of the booksellers) in Baghdad on March 5th 2007. We currently hold work for exhibits from approximately 600 artists and writers from 20 countries.

We have exhibited extensively in the U.S., Canada, and the UK. as well as in Venice, Italy, Cairo, Egypt, The Netherlands, and Baghdad, Iraq.

In the first part of the guidelines there is a link to a list of the academics that were assassinated. I need you to choose one of those names and write me back with the name and accompanying number from that site. Just have the project in mind when you take the photo. The photo should be empty of people but resonate as a pathway to the name that will be below your photo. Photography is a kind of pathway to and from Memory and Witness, and that’s what I’d like these photos to reflect. The photo should be a way to take the viewer to the name and the life that held it.

I look forward to hearing from you.

Links to our project –

Smithsonian Exhibit  2016  (Note that this exhibit was part of our 11 venue Washington D.C. area exhibit – After watching the video towards the bottom of the page please click on the link which will take you to another page with more links related to our project. Smithsonian video with Arabic subtitles

Arabic Literature (in English)

Artists’ Book Project (An Inventory of Al-Mutanabbi Street – Click into a gallery and then onto any book image to see more views of the book and read the artist’s statement.

Al-Mutanabbi Street Broadsides –

Absence and Presence – A Printmaking project of Al-Mutanabbi Street Starts Here

2014 reading at the Arab British Centre in London –

Exeter, U.K. A 2016 reading and exhibit for Absence and Presence, part of the Al-Mutanabbi Street Starts Here Project

Review of our anthology in Jadaliyya, Al-Mutanabbi Street Starts Here

The Center for Contemporary Arab Studies (CCAS) at Georgetown University (Rochelle Davis is the Director). used several of our printmaking project illustrations in their Summer 2017 Newsmagazine (one illustrates the magazine cover).

Our Bookmark Project  –

A musical piece that was composed for the project 

As part of our yearly global readings for al-Mutanabbi Street Starts Here, we helped inspire, with the aid of the poet/activist Amal Al-Jubouri and her Soutuna Project, a series of readings across Iraq as reported on here

No comments yet

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: