Fig. 6.5 Edilberto Jiménez Quispe, They Would Have Killed Us If We Didn’t Go with Them (Chungui, 1985). Reprinted with artist’s permission from Chungui: Violencia y trazos de memoria. Lima: Comisdeh, p. 151.
Fig. 6.6 Edilberto Jiménez Quispe, They Said, “You Must Obey Those in Charge” (Chillihua, Chungui, 1984). Reprinted with artist’s permission from Chungui: Violencia y trazos de memoria. Lima: Comisdeh, p. 85.
Fig. 6.7 Edilberto Jiménez Quispe, As Day Was Night (Oronqoy, Chungui, 1984). Reprinted with artist’s permission from Chungui: Violencia y trazos de memoria. Lima: Comisdeh, p. 181.
Fig. 6.8 Edilberto Jiménez Quispe, Working Together (Concertación). Reprinted with artist’s permission from Chungui: Violencia y trazos de memoria. Lima: Comisdeh, p. 209.
Fig. 10.1 Wij/Zij. Actors are demarcating lines (photo: Theatre Bronks). Reproduced with permission.
Fig. 10.2 Wij/Zij. Detonator and wires (photo: Theatre Bronks). Reproduced with permission.
[9]Fig. 11.1 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. Reproduced with permission.
Fig. 11.2 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’. Photograph and caption: Rafiki Ubaldo; reproduced with permission.
Fig. 11.3 ‘Nobody is illegal – papers for all!’ (Praça Martim Moniz, Lisbon, August 27, 2009). Photograph: Frank Möller.
Fig. 11.4 Pieter Hugo, ‘SITE OF A ROADBLOCK. GATYAZO.GIKONGORO.’ Reproduced courtesy of the Stevenson Gallery, Cape Town-Johannesburg / Yossi Milo Gallery, New York.
[10]List of Plates
1 – Louie Palu, An Afghan soldier eats grapes during a patrol in Pashmul in Zhari District, Kandahar Province, Afghanistan. 2008 Photo © Louie Palu
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
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
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
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
6 – Louie Palu, Cover of the publication “Guantanamo Operational Security Review” a self published concept newspaper by Louie Palu in 2013. Photo © Louie Palu
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
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
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
[11]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.
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.
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.
13 – Wij/Zij. Detonator and wires. (Photo by: Theatre Bronks.)
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.
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.
16 – Pieter Hugo, SITE OF A ROADBLOCK.GATYAZO.GIKONGORO. Reproduced courtesy of the Stevenson Gallery, Cape Town-Johannesburg / Yossi Milo Gallery, New York.
[12]Contributors
Suvi Alt is a lecturer in International Relations at the University of Groningen in the Netherlands. Her research examines contemporary biopolitics of development and notions of a “beyond” of the biopolitical. Her broader research interests include continental political philosophy as well as critical perspectives on security, rights and development. Her latest publication is ‘Darkness in a Blink of an Eye: Action and the Onto-Poetics of a Beyond’ in Angelaki: Journal of the Theoretical Humanities.
Roland Bleiker is Professor of International Relations at the University of Queensland where he coordinates an interdisciplinary research program on Visual Politics. Recent publications include Aesthetics and World Politics (2009/2012); a forum on ‘Emotions and World Politics’ in International Theory (2014) co-edited with Emma Hutchison; and ‘Pluralist Methods for Visual Global Politics’, Millennium: Journal of International Studies (2015). Bleiker is also the editor of Visual Global Politics (Routledge: forthcoming 2017).
Associate Professor Sally Butler lectures in art history in the School of Communication and Arts, University of Queensland. Her most recent publication in the area of visual politics is co-authored with Roland Bleiker and titled ‘Radical Dreaming: Indigenous Art and Cultural Diplomacy’, International Political Sociology (2016).
Susanna Hast works as a postdoctoral researcher in the research project
