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Singh's acclaimed 2001 collaborative visual novel of the life of an Indian eunuch, back in print A mix of photobook, biography, autobiography and fiction, Myself Mona Ahmed--first published by Scalo in 2001--continues to renew its importance in Dayanita Singh's (born 1961) oeuvre as her trajectory unfolds. Mona Ahmed was a eunuch, a member of a community of eunuchs, whom Singh met and lived with around 1990. Singh followed the daily life and rituals of the eunuchs, their parties and ceremonies, following the story of Ahmed's castration and the loss of her adopted child. Ahmed's refusal to be the passive subject of such a project pushed Singh into producing, eventually, a visual novel weaving various kinds of text alongside the photographs, including Ahmed's emails. The Scalo edition, now rare, receives the full Steidl treatment in this volume.
"Museum of Chance is the first publication of Museum Bhavan, which is a collection of museums made by Dayanita Singh in New Delhi. The museums hoiuse old and new images made by the artist. Each wooden structure can be placed and opened in different ways, and holds around a hundred framed images, some on view, while others wait for their turn in the reserve collection, also kept inside the structures. As Singh keeps adding images to the museums, the museums themselves give birth to other museums. For example, the Museum of Embraces comes out of the Museum of Chance, and the Museum of Vitrines is contained within the Museum of Furniture. This publication is a mass produced artist book for the museum by the same name. Each image in the book is a cover image on one of the books."--Colophon.
Dayanita Singh's photos of archives and their custodians across India examine how memory is made and how history is narrated. These images bring to light the paradox of archives: they are impersonal in their classifications, yet each is the careful handiwork of an individual archivist, an unsung keeper of history whose decisions generate the sources of much of our knowledge. Archives are vessels of orthodox fact but can also be the home of neglected details and forgotten documents than can unfix the status quo. As the pace of change in contemporary India accelerates and Indians turn from the past and fix their gaze on the future, what will become of the archive? Singh prompts us to imagine archives as not merely documents of dusty scholarship but as monuments of knowledge, beautiful in their unkempt order.
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
A Palestinian activist jailed at sixteen after a confrontation with Israeli soldiers illuminates the daily struggles of life under occupation in this moving, deeply personal memoir. “I cannot even begin to convey the clarity, the intensity, the power, the photographic storytelling of They Called Me a Lioness.”—Ibram X. Kendi, internationally bestselling author of How to Be an Antiracist ONE OF THE BEST BOOKS OF THE YEAR: Kirkus Reviews “What would you do if you grew up seeing your home repeatedly raided? Your parents arrested? Your mother shot? Your uncle killed? Try, for just a moment, to imagine that this was your life. How would you want the world to react?” Ahed Tamimi is a world-renowned Palestinian activist, born and raised in the small West Bank village of Nabi Saleh, which became a center of the resistance to Israeli occupation when an illegal, Jewish-only settlement blocked off its community spring. Tamimi came of age participating in nonviolent demonstrations against this action and the occupation at large. Her global renown reached an apex in December 2017, when, at sixteen years old, she was filmed slapping an Israeli soldier who refused to leave her front yard. The video went viral, and Tamimi was arrested. But this is not just a story of activism or imprisonment. It is the human-scale story of an occupation that has riveted the world and shaped global politics, from a girl who grew up in the middle of it . Tamimi’s father was born in 1967, the year that Israel began its occupation of the West Bank and he grew up immersed in the resistance movement. One of Tamimi’s earliest memories is visiting him in prison, poking her toddler fingers through the fence to touch his hand. She herself would spend her seventeenth birthday behind bars. Living through this greatest test and heightened attacks on her village, Tamimi felt her resolve only deepen, in tension with her attempts to live the normal life of a daughter, sibling, friend, and student. An essential addition to an important conversation, They Called Me a Lioness shows us what is at stake in this struggle and offers a fresh vision for resistance. With their unflinching, riveting storytelling, Ahed Tamimi and Dena Takruri shine a light on the humanity not just in occupied Palestine but also in the unsung lives of people struggling for freedom around the world.
We got stared at a lot. People asked out loudly—some out of curiosity, others out of malice—whether we were men or women or ‘number nines’ or devadasis. Several men made bold to touch us, on our backs, on our shoulders. Some attempted to grab our breasts. ‘Original or duplicate?’ they shouted and hooted. At such moments I felt despair and wondered if there would ever be a way for us to live with dignity and make a decent living. Revathi was born a boy, but felt and behaved like a girl. In telling her life story, Revathi evokes marvellously the deep unease of being in the wrong body that plagued her from childhood. To be true to herself, to escape the constant violence visited upon her by her family and community, the village-born Revathi ran away to Delhi to join a house of hijras. Her life became an incredible series of dangerous physical and emotional journeys to become a woman and to find love. The Truth about Me is the unflinchingly courageous and moving autobiography of a hijra who fought ridicule, persecution and violence both within her home and outside to find a life of dignity.
In Dream Villa Singh explores how the night transforms what seems ordinary by day into something mysterious and unsettling. This series of colour photographs presents a landscape which exists as much in the artist's imagination as in the real world. Singh travels to many different cities never knowing where Dream Villa or its inhabitants will present themselves. It is a place where nothing is quite as it seems to be - it comes alive at night, when all is lit by artificial light and the moon is just ornamentation.
Text by Aveek Sen.
Filled with compelling images from revered photographers of the past and present, this book sheds light on marginalized communities who have traditionally shied away from the camera. At a time when individual rights are being contested and when those on the fringes of society feel deeply threatened, this powerful photographic compilation delivers a message of humanity and inclusiveness that transcends geopolitical and cultural boundaries. Works by critically acclaimed photographers including Bruce Davidson, Paz Errazuriz, Jim Goldberg, Danny Lyon, Mary Ellen Mark, Boris Mikhailov, Daido Moriyama, and Dayanita Singh cast a compassionate, unflinching eye on the worlds inhabited by transsexuals, hookers, hustlers, bikers, junkies, circus performers, gang members, survivalists, petty criminals, and others who live in the shadows, on the streets, and out of the public eye. Grouped by photographer and ranging in genre from portraiture to photojournalism, these images were selected for their authentic and humane perspective, as well as for their artistic brilliance. An important testament to photography's power to both expose injustice and provide affirmation for those outside the norm, this collection bears witness to the ways social attitudes change across time and space, and how visual representation can promote understanding and dialogue.