Abstract
Engaging with the literature on visual representations of human suffering, being a witness, and trauma, this article discusses visual representations of the 1994 genocide in Rwanda, and especially the art photography of Alfredo Jaar, Robert Lyons, and Jonathan Torgovnik of the aftermath of the genocide. It explores the conditions in which photography can succeed in disrupting stereotypical political interpretations of the killings. Art photography, it is argued, may help transform the viewers from being consuming spectators into being participant witnesses who self-critically reflect upon their own subject positions in relation to the conditions depicted in the image. By discussing photography of the aftermath of the genocide, the article acknowledges the unrepresentability of genocide; by focusing on visual representations, it reflects the extent to which political space is nowadays constituted by means of images; by concentrating on Rwanda, it contributes to the necessary process of examination and self-examination in connection with the killings.
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