Images of Conviction

The Construction of Visual Evidence
From the 4th of June to the 30th of August 2015
  • R. A. REISS, coll. IPSC

  • Martin Argyroglo

  • Saint-Suaire de Turin. visage, marques sanguines et séreuses mises sur le front par les épines de la couronne, négatif. Tirage réalisé d'après agrandissement de cliché de Giuseppe Enrie (1931-1933). Fonds Paul Vignon.
    Institut catholique de Paris, Bibliothèque de Fels.
  • L'homme du Suaire, Lucie Lebart

    Martin Argyroglo / LE BAL

  • Alekseï Grigorievitch Jeltikov et Marfa Ilinitchna Riazantseva  

    Archives centrales FSB et Archives nationales de la Fédération de Russie GARF, Moscou, copies publiées à partir des archives de l’Association internationale Memorial, Moscou.

  • Martin Argyroglo

  • Martin Argyroglo / LE BAL

  • Photo Richard Helmer, Courtesy Maja Helmer, 1985
  • Le crâne de Mengele, Keenan et Weizman

    Martin Argyroglo / LE BAL

  • Cimetière al-Türi, détail n°14 agrandi de l’image 5033, RAF série Palestine Survey, 5 janvier 1945.
    A British Survey of Palestine, 1947
  • Martin Argyroglo

  • Photographie des prévenus avant la projection, à titre de preuve, du film Camps de concentration nazis, 29 novembre 1945, photogramme extrait du film Nuremberg, les nazis face à leurs crimes réalisé par Christian Delage (2006)
    Christian Delage, Compagnie des phares et balises, 2006
  • Martin Argyroglo

  • Fort de Douaumont, près de Verdun, 20 mai 1916, 16 h, altitude 1 200 mètres, Section de photographie aérienne.
    Paris – Musée de l’Armée, Dist. RMN-Grand Palais, photo Marie Bour

FIRST EXHIBITION AT LE BAL WITHOUT ARTWORK OR ARTIST, IMAGES OF CONVICTION EXAMINES THE WAY EXPERTS, RESEARCHERS AND HISTORIANS PRODUCE IMAGES AS EVIDENCE IN INSTANCES OF CRIMES OR ACTS OF VIOLENCE SUFFERED BY INDIVIDUALS OR GROUPS.

Exhibition conceived by Diane Dufour with Luce Lebart, Christian Delage and Eyal Weizman with the contribution of Jennifer L. Mnookin, Anthony Petiteau, Tomasz Kizny, Thomas Keenan, and Eric Stover. Exhibition design by Atelier Maciej Fiszer

Each of these eleven case studies spanning the period from the invention of ‘metric’ photography of crime scenes in the nineteenth century to the reconstruction of a drone attack in Pakistan in 2012, offers an ‘archaeological’ analysis of the historical and geopolitical context in which the images appeared, as well as their purpose, the way they were produced and the specific framework of their reception.

The nature and the gravity of the facts described mean that no fallacious comparison must be allowed to simplify or reduce the ambit of such images. Coming not long after the invention of the medium, everyday use of photographs in the courtroom made the image’s power as truth an essential tool of conviction in the service of justice.

This power as truth has been ardently debated, sometimes legitimately contested and often contradicted.

How can the traces, signs and symptoms of a criminal act be discovered, understood and validated by an image?
How do the systems devised by experts for capturing and presenting images enhance the image’s evidentiary character?
How does the image take shape in truth-seeking scientific and historical discourse?
Diane Dufour

A book to accompany the exhibition will be co-published in French and in English by Xavier Barral Editions and LE BAL with introductions by Diane Dufour, Eyal Weizman and Jennifer Mnookin.

In coproduction with The Photographers’ Gallery in London (exhibition from the 2nd of October 2015 to the 10th of January 2016) and the Nederlands Fotomuseum in Rotterdam (exhibition from the 22nd of May to the 28th of August).

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Images of Conviction

The Construction of Visual Evidence

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