Our experience at the pool was also not without art students from Kabul University. On our first day in Kabul we met with some fine arts students, some of whom worked with Louis Berrios Negron on his installation. We revisited the site and took in the views of the North side of Kabul. It served as a great opportunity to talk with the students. Ironically when we asked a few of them of their impressions of the Negron piece they seemed strangely indifferent to it. They seemed happy to have been a part of it but also disappointed with their role in the project. The feeling was that they had hoped to have had more of a creative role in planning the piece where instead they felt much more like assistants or labor to help with the installation. We asked them if they had planned any installations or events within the city. They told us of a modern art showing which they had installed outdoors that met with mixed reactions at best. It seems as though many of the general public did not understand the abstract nature of the work and chided them for it leaving a lasting impression with them. When we asked them if they had any future plans to display their work in public the reaction was less than enthusiastic. One of the students I spoke with expressed the feeling that they were in between movements, that they were unsure of what form to manifest their voice, that with the elimination of the Taliban the opportunity was there but that the social fabric of Kabul and Afghanistan was still residually rigid and therefore difficult to situate themselves in. I hope for their sake that they do find their mode of expression; I hope also that in some way our visit and conversations also helped them to realize that others beyond the city were interested in their work.
Visible from the hill was a neighborhood called Sherpur. Ajmal Maiwandi, an architect working with the Agha Khan Trust in Kabul was our guide and pointed it out to us. He made us note from our view a small corner of land, maybe two or three small blocks of mud brick houses huddled together at the base of the hill, sandwiched between a cemetery and obviously newer far more expensive houses. Ajmal told us the well known story of Marshal Fahim Khan who as the minister of defense appropriated the neighborhood of Sherpur and then redistributed it to his political allies and other cronies. It is a very visible and blatant reminder of the corruption which plagues Kabul. All but this small parcel of land is what remains of the original inhabitants. While they stubbornly cling to what they have left, looking around at the intensity which the surrounding area has been developed there seems like little chance that it will survive much longer. Ajmal suggested that fittingly it was the protection of the cemetery which was keeping them alive, an unsettling piece of irony to be sure.

We hiked down the hill through the cemetery and descended into this remaining original neighborhood in Sherpur. We found ourselves funneled into a narrow walkway that took us down the hill farther, towards the line where the new construction began. Along this path, narrow corridors led to doorways of the homes which lined it. There were few windows and although the buildings were only a single story in height, it created the sense of walking though a mud brick canyon. Of the few people we saw we were met with looks of curiosity and skepticism. Ajmal on the other hand greeted each person with a handshake and spoke with them about what we were doing, he was much better received than we were. Down the center of the path was a narrow channel about 4 inches wide which acted as a gutter, mostly for what appeared to be sewage, at least that’s what our noses told us. At the bottom of the slope and then end of the path this channel intersected a bigger open channel where all the runoff apparently collected. The color of the water was a very surreal blue green. Extremely careful not to fall in, we hopped over and were now in the new Sherpur.
The first thing you notice about the new construction in Sherpur is the distinct and repetitive style of all the houses built. I heard it described as a couple different things; Pakistani Style, Wedding Cake Houses and my favorite was Photo Houses. Imagine if you will two to three story houses maybe 2000 to 3000 square feet with flat roofs and distinct horizontal banding at each level. On top of this, every single surface of the building is adorned in the most gaudy ornament and coloring. Often this is done with ceramic and metallic tiles of all color. The term photo house was explained to me in this way; when you buy a digital camera they each claim that they pick up to 5 million colors visible to the human eye or something to that effect. If you take a photograph of one of these houses, it will actually use all 5 million colors of the spectrum.