A growing number of archives are now openly available to the public thanks, in particular, to the mass digitization of cultural heritage. Recirculations and resignifications of cultural heritage are accelerating as a consequence. Discussions on how to address sensitive visual material is particularly challenging in such a context. A wide range of images, from graphic photographs to digital surrogates of sacred objects whose circulation may hurt indigenous values, can be potentially offensive to spectators.
The EyCon project organizes a symposium on sensitive photographs, their histories, curation and recirculations at the Musée du Quai Branly Jacques Chirac. The event is divided between workshops for professionals and a public conference (10 June 2022, 14-17h30, salle de cinéma, free admission until the venue is full).
This scientific event aims at sharing experiences and perspectives on how different image-carriers and audiences should influence the historical and archival uses of violent imagery offers a solution to reflect on the best possible practices in a very fluid and uncertain field of exploration.
Conference Program (10 June 2022, 14h-17h30)
Open and free to the public, an interpreter will translate the presentations from English to French.
Nancy Rushohora (Lecturer in the Department of Archaeology and Heritage Studies of the University of Dar es Salaam)
Demanding images and the memories of colonial violence in Tanzania
Kim A. Wagner (Professor, Queen Mary, University of London)
‘The most illuminating thing I have ever seen’: The Photographic evidence of the Bud Dajo Massacre 1906
Susie Protschky (Associate Professor of History at Deakin University,Melbourne, Australia)
Late starters: The post-colonial afterlives of war photographs from Indonesia and neglected histories of colonial violence
Carine Peltier-Caroff (Head of the picture library, Musée du quai Branly – Jacques Chirac, Paris)
The Meillassou album, the politics of naming and the ethics of showing
Helen Mavin (Head of Photographs, Imperial War Museum, London)
Provisional Semantics: Challenging the imperial gaze in IWM’s Second World War photographs