Tahrir is not just a square but the heart of a city that every day hosts more than thirty-six million souls. That square is the meeting point of Egyptian protesters who struggle to be recognized now, especially after the recent elections. People who voted for Shafiq, the Mubarak-era minister, said “yes” in the second round of election to the Salafi-Brotherhood constitution. On the other side, the revolutionaries, who voted for Morsi with the second ballot, curse that choice which transformed Tahrir from the hotbed of the Egyptian revolution into a hideout for Feloull, the faithful followers of Mubarak’s regime, also accused of being paid to create disorders. Everything changed and everything is the same.
The CIA's attempt to corner North Vietnam left Laos pockmarked with tens of millions of bombs which remain to this day—some say it will be another 150 years before the country is cleared. In other words, the last victim of a decades-old war hasn't even been born yet.
A bold show at London's premier modern art museum examines our visual understanding of war from a novel angle—photographs of conflict arranged according to how long after the event they were created.
For two decades, Pettersson has documented this complex country as broadly as he can — with photographs of whites-only Afrikaans communities, the bourgeois life of the 'black diamonds', poor urban life in the country's endless townships, and even scenes from tradition-bound Xhosa tribespeople.