Simon Norfolk
An entrepreneur creates a roadside tea stall at the busy Saraj-e Shomali traffic junction. Above him are adverts for banks; a ‘win a free car’ offer from a mobile phone company and the grave of a shahid or martyr.

An entrepreneur creates a roadside tea stall at the busy Saraj-e Shomali traffic junction. Above him are adverts for banks; a ‘win a free car’ offer from a mobile phone company and the grave of a shahid or martyr.

© Simon Norfolk / Gallery Luisotti

An entrepreneur creates a roadside tea stall at the busy Saraj-e Shomali traffic junction. Above him are adverts for banks; a ‘win a free car’ offer from a mobile phone company and the grave of a shahid or martyr.
An entrepreneur creates a roadside tea stall at the busy Saraj-e Shomali traffic junction. Above him are adverts for banks; a ‘win a free car’ offer from a mobile phone company and the grave of a shahid or martyr.
ArtistBritish, born Nigeria, 1963
CultureBritish
Titles
  • An entrepreneur creates a roadside tea stall at the busy Saraj-e Shomali traffic junction. Above him are adverts for banks; a ‘win a free car’ offer from a mobile phone company and the grave of a shahid or martyr.
  • from the portfolio Burke + Norfolk: Photographs from the War in Afghanistan
Date2010–2011, printed September 2011
Place depictedAfghanistan
MediumChromogenic print
DimensionsImage: 14 1/2 × 19 1/4 in. (36.8 × 48.9 cm)
 Sheet: 15 × 20 in. (38.1 × 50.8 cm)
Credit LineGift of Morris Weiner
Object number2016.224.32
Non exposé

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Department
Photography
Object Type
ProvenanceThe artist; [Gallery Luisotti, Santa Monica, California]; purchased by Morris Weiner, Houston, 2012; given to MFAH, 2016.
Inscriptions, Signatures and Marks
Stamped in black ink, verso, lower right: Burke + Norfolk // Photographs from the war in Afghanistan // by John Burke and Simon Norfolk // Printed by Simon Norfolk, September 2011 // An archival, digital, chromogenic print on Fujicolor Crystal Archive // Photograph by Simon Norfolk [signed in pencil over a stamped underline] // One of 104 prints in a Burke + Norfolk portfolio special edition // Edition number 1 of eight [1 is handwritten in pencil over a stamped underline]
Norfolk prints are signed and numbered on verso lower right, within artist's stamp

Cataloguing data may change with further research.

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Pakistani apples for sale at a roadside market.
Simon Norfolk
Pakistani apples for sale at a roadside market.
2010–2011, printed September 2011
Chromogenic print
2016.224.34
Unfinished, speculative property development near Kabul Airport.
Simon Norfolk
Unfinished, speculative property development near Kabul Airport.
2010–2011, printed September 2011
Chromogenic print
2016.224.30
Jellallabad, the main street shewing covered Bazaar.
John Burke
Jellallabad, the main street shewing covered Bazaar.
1879, printed September 2011
Chromogenic print
2016.224.31
Internet café, Herat.
Simon Norfolk
Internet café, Herat.
2010–2011, printed September 2011
Chromogenic print
2016.224.28
A security guard’s booth at the newly restored Ikhtyaruddin citadel, Herat.
Simon Norfolk
A security guard’s booth at the newly restored Ikhtyaruddin citadel, Herat.
2010–2011, printed September 2011
Chromogenic print
2016.224.29
Upper Bala Hissar. South Face.
John Burke
Upper Bala Hissar. South Face.
1879, printed September 2011
Chromogenic print
2016.224.26
Kabul ‘Pizza Express’ restaurant behind the municipal bus depot.
Simon Norfolk
Kabul ‘Pizza Express’ restaurant behind the municipal bus depot.
2010–2011, printed September 2011
Chromogenic print
2016.224.27
The peripheries of the city of Kabul, especially to the north and east are endless building sites. Since most of the documentation concerning land title was lost during the war, much of this speculative and illegal construction is concerned more with establishing undisputable ‘facts on the ground’. Apartments and shops are, almost exclusively, unoccupied.
Simon Norfolk
The peripheries of the city of Kabul, especially to the north and east are endless building sites. Since most of the documentation concerning land title was lost during the war, much of this speculative and illegal construction is concerned more with establishing undisputable ‘facts on the ground’. Apartments and shops are, almost exclusively, unoccupied.
2010–2011, printed September 2011
Chromogenic print
2016.224.24
A dumping ground for an abandoned Russian-era bomber that has now been incorporated into the car park of ‘Shamshad TV’, a new media company heavily supported by American money.
Simon Norfolk
A dumping ground for an abandoned Russian-era bomber that has now been incorporated into the car park of ‘Shamshad TV’, a new media company heavily supported by American money.
2010–2011, printed September 2011
Chromogenic print
2016.224.25
Cabul. West End Sherpur. Winter.
John Burke
Cabul. West End Sherpur. Winter.
1878–1880, printed September 2011
Chromogenic print
2016.224.23
The districts of Wazir Akbar Khan and Sherpur, home to all the NGOs and contractors, occupy the site of the former British fortress from the Second Anglo-Afghan War, ‘the Cantonment’. Glitzy, kitschy ‘poppy-palaces’, flung up in a hectic property boom after the land was illegally re-possessed from squatters, can command rents of $20,000 per week when leased out to Internationals.
Simon Norfolk
The districts of Wazir Akbar Khan and Sherpur, home to all the NGOs and contractors, occupy the site of the former British fortress from the Second Anglo-Afghan War, ‘the Cantonment’. Glitzy, kitschy ‘poppy-palaces’, flung up in a hectic property boom after the land was illegally re-possessed from squatters, can command rents of $20,000 per week when leased out to Internationals.
2010–2011, printed September 2011
Chromogenic print
2016.224.22
The swimming pool that crowns Tepe Wazir Akbar Khan, built by the Soviets in the 1970s and restored in recent times at great expense by USAID. It is uncertain if it will ever be used.
Simon Norfolk
The swimming pool that crowns Tepe Wazir Akbar Khan, built by the Soviets in the 1970s and restored in recent times at great expense by USAID. It is uncertain if it will ever be used.
2010–2011, printed September 2011
Chromogenic print
2016.224.20