Читать книгу Art as a Political Witness - Группа авторов - Страница 10

[16][17]Plate 1: Louie Palu, An Afghan soldier eats grapes during a patrol in Pashmul in Zhari District, Kandahar Province, Afghanistan. 2008 Photo © Louie Palu

[18]Plate 2: Louie Palu, A man with hands bound behind his back and killed execution style on the banks of a river in Culiacan, Sinaloa, Mexico. 2012 Photo © Louie Palu

[19]Plate 3: Louie Palu, Anti Sinaloa Cartel leader Chapo Guzman graffiti that has been painted over on a wall in the Juarez Valley located east of Ciudad Juarez, Mexico. 2012 Photo © Louie Palu

[20]Plate 4: Louie Palu, Migrant labourers from Guerrero State working at a farm near Culiacan, Sinaloa picking tomatoes destined for export across the border to the United States and Canada. 2012 Photo © Louie Palu

[21]Plate 5: Louie Palu, A detainee prays in his cell in Camp 5, which is a maximum-security detention facility where the most uncooperative as well as detainees with the most intelligence value are housed at the detention facility in Guantanamo Bay, Cuba. 2008 Photo © Louie Palu

[22]Plate 6: Louie Palu, Cover of the publication “Guantanamo Operational Security Review” a self published concept newspaper by Louie Palu in 2013. Photo © Louie Palu

[23]Plate 7: Louie Palu, Page spread from the publication “Guantanamo Operational Security Review” a self published concept newspaper by Louie Palu in 2013 showing the detention centers document with deleted file numbers of photos taken by Louie Palu. Photo © Louie Palu

[24]Plate 8: Louie Palu, Inside page spreads from the publication “Guantanamo Operational Security Review” a self published concept newspaper by Louie Palu in 2013 showing images taken by Louie Palu. Photo © Louie Palu

[25]Plate 9: Louie Palu, Inside page spreads expanded into posters from the publication “Guantanamo Operational Security Review” a self published concept newspaper by Louie Palu in 2013 showing images taken by Louie Palu. Photo © Louie Palu

[26]Plate 10: Behind the Shadow of the Pain (Tras la sombra del dolor) by Luis Cuba Arango (Pampamarca, Vinchos). Reprinted with permission from Servicio Educativos Rurales, Colectivo Yuyarisun, Rescate por la memoria, 17

[27]Plate 11: Dave Hullfish Bailey + Sam Watson, Maiwar Performance 2014 (stills). Video, colour, sound, edition of 5. Duration 0:12:00, looped. Courtesy David Pestorious Projects, Brisbane

[28]Plate 12: Richard Bell, Uz vs Them 2006, Single-channel digital video, edition 2/5, duration 0:2:20. Collection of The University of Queensland, Gift of Richard Bell through the Australian Government’s Cultural Gifts Program, 2009. Reproduced courtesy of the artist and Milani Gallery, Brisbane

[29]Plate 13: Wij/Zij. Detonator and wires. (Photo by Theatre Bronks)

[30]Plate 14: Richard Misrach: Norco Cumulus Cloud, Shell Oil Refinery, Norco, Louisiana, 1998 © Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

[31]Plate 15: Rafiki Ubaldo, Clearly visible on this ID are the terms Hutu, Tutsi, Twa and Naturalisé. Having a Tutsi marked ID meant death. This ID card is kept in a glass cupboard in the underground section of Nyamata Church Genocide Memorial. The Memorial is located in the Bugesera region, Eastern Province, about 35 kilometres outside Kigali, the capital. Courtesy the artist

[32]Plate 16: Pieter Hugo, SITE OF A ROADBLOCK.GATYAZO. GIKONGORO. Reproduced courtesy of the Stevenson Gallery, Cape Town-Johannesburg / Yossi Milo Gallery, New York