About the artist
Past events

The Brush is Mightier: One Man's Mission to Rescue Art from the Taliban

Live painting
and gallery open house
Thursday, October 24, 2024
3 p.m. – 7 p.m. (MST)
West Hall, Room 135
Articles about the artist

The brush is mightier: One man’s mission to rescue art from the Taliban
Amid the horrors of war, survival needs often eclipse all else. But for Dr. Mohammad Yousof Asefi, a practicing physician and nationally recognized artist, saving Afghanistan’s art was as critical as saving lives.
Under the Taliban’s iron-fisted rule, Asefi risked his life to protect his country’s cultural heritage — a mission he continues as artist-in-residence at the Center for the Study of Religion and Conflict ...
When the Taliban announced they would destroy paintings in the Afghan National Gallery, Asefi resolved to save them.

Meet Dr Mohammad Yousef Asefi: the man who saved Afghan art from the Taliban
More than 150 paintings hang centimetres apart across the walls, they also rest on the floor and lean against the wooden columns of the two-floor private gallery. These are all the works of one of Afghanistan’s most prominent artists, but most of them haven’t yet been seen by Kabul’s art enthusiasts. The owner of the gallery and the artist behind the paintings, Dr Mohammad Yousef Asefi, 57, says the surge in the number of deadly attacks across Afghanistan, particularly over the past year, have heightened people’s fear of public gatherings, which has put a dent in his plans to hold an official opening for the space.

An Afghan Artist Erases Layers of Taliban Repression
Muhammad Yousef Asefi does his best work with a palette and a paintbrush. These days, he has happily put them aside for a sponge soaked in water. Many mornings, Dr. Asefi can be found at the National Gallery here, gently scrubbing landscapes and portraits he painted years ago. Each brush of the sponge brings a revelation. A swan glides on a shimmering stream, where there had been only water. A man stands on a quay in Amsterdam, where there had been a tall stand of flowers.
It looks like a magic trick. In fact, it is the happy outcome of an act of cultural subterfuge against a repressive rule.
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