1 / 10 Still from Decoding video testimony, Miranshah, Pakistan, March, 30th 2012. © Forensic Architecture en collaboration avec SITU Research.

2 / 10 Staging the demonstration of the system of metric photography by Bertillon, with a body to simulate the corpse and the equipment in position. Teaching materials for courses and conferences. Rodolphe A. Reiss, 1925. Collection is from the Institut de police scientifique of the University of Lausanne. © R. A. REISS, coll. IPSC.

3 / 10 Graves A-Sud, Koreme, Northern Iraq, June 1992. © Susan Meiselas, Magnum Photos.

4 / 10 Cimetière al-Türi, al-‘Araqïb, Fazal Sheikh, October, 9th 2011. The tombs at the center of the cemetery are older and dated back to before the formation of the State of Israel. © Fazal Sheikh.

5 / 10 The accused on November 29th, 1945 before the screening of the images of the Nazi concentration camps. Stills from the film Nuremberg, les nazis face à leurs crimes, by Christian Delage (2006). © Christian Delage, Compagnie des phares et balises, 2006.

6 / 10 Video editing produced using photographs by Mengele and his skull in the demonstration of overlay by Richard Helmer, Medical-Legal Institute Labs, San Paolo, Brazil, June 1985. © Richard Helmer, courtesy Maja Helmer, 1985.

7 / 10 Rodolphe A. Reiss, Handkerchief with which Mrs. Ducret was strangled, Beaumaroche, Vaud, September 24th, 1907. Collection de l’Institut de police scientifique de l’Université de Lausanne. © R. A. Reiss, coll. IPSC

8 / 10 Stanisław Rytchardovitch Budkiewicz, Poland, born in 1887 in Łód. Higher education, member of the VKP (b), brigade commissar (political officer) assigned to the military intelligence service officially Scientific Secretary for the preparation of the Soviet Military Encyclopaedia. Residing in Moscow in Pouchkine Square 6, app. 15. Arrested on 9th June 1937. Sentenced to death on 21st September 1937. Executed the same day. Rehabilitated in 1956. © FSB Central Archives and the National Archives of the Russian Federation GARF, Moscow, published copies from the archives of the International Memorial, Moscow.

9 / 10 Holy Shroud, Turin (Italy): face, traces of blood and serum left on the front of the crown of thorns. Negative. Front/back focus made through the enlargement of the cliché by Giuseppe Enrie (1931-1933). Paul Vignon Fund. © Institut catholique de Paris, Bibliothèque de Fels.

10 / 10 Fort de Douaumont, near Verdun, November 4th, 1916, 12h, altitude 900 m. Section of Aerial Photography. © Paris – Musée de l’Armée, Dist. RMN-Grand Palais, photo: Marie Bour.

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Burden of proof

CAMERA - Centro Italiano per la Fotografia presents Burden of proof. The construction of Visual Evidence from the Holy Shroud to Satellite Images, an exhibition conceived by Diane Dufour with Luce Lebart, Christian Delage and Eyal Weizmann.
The exposition analyses the history of forensic photography and displays a collection of pieces spanning over one hundred years of history: from the first photos appearing in courts of law to the satellite photos used by human rights organisations to report the killing of civilians, like after drone attacks. These powerful photographs are very different from one another but share the violence that they document and substantiate. CAMERA has selected eleven case studies in order to illustrate a scientific approach to photography as a tool in the hands of justice. «Criminal acts, more than any other incident – says Diane Dufour, curator and designer of the exhibit – appear to be opaque, hard to describe and depict. The image itself offers a slew of distinct signals, together with others that muddle them; important details go side by side with potential “traps”. It’s an enigma in itself, and it wants you to pry its contents from it. The experts are faced with the task of building a device able of discovering such truth: the core of the image». It becomes clear that the truth is not just reconstructed but is actually built in that moment to be later defended by proofs, among which the images play the main role. For this reason, this exhibition explores both the power and the limits of photography in the quest for the truth. The image shows its power, more shocking and more convincing than words or figures could ever be. The limit is in the technique: it often disproves the idea that the photographer’s lens is an unerring eye, observing and registering all. «To exhibit these images – continues the curator of the exhibition – one has to move then out of their everyday context. We tried to understand how, when and by whom they were taken and to suggest a possible critique of their nature: are those symbolic, or are they themselves evidence? For both the researcher and the visitor, acting out a thought through pictures is the first step to open a window to truth».
Burden of proof is a coproduction by Le Bal (Paris), Photographers’ Gallery (London) and Netherlands FotoMuseum (Rotterdam), organized with the contribution of Jennifer L. Mnookin, Anthony Petiteau, Tomasz Kizny, Thomas Keenan and Eric Stover. Set-up conceived by Marco Palmieri.

Burden of proof. The construction of Visual Evidence from the Holy Shroud to Satellite Images
CAMERA - Centro Italiano per la Fotografia, via delle Rosine, 18 - Turin (Italy)
27 January – 1 May 2016

opening times: Monday, Wednesday, Friday, Saturday, Sunday, 11 am - 7 pm | Thursday, 11 am - 9 pm | closed on Tuesdays
admission fee: full prize ticket 10,00 € | reduce 6,00 € for visitors up to 26, over 65 years old and owners of Abbonamento Musei Torino Piemonte | free admission for children up to 12 years old
info: camera@camera.to
camera.to

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published on 2016-01-27 in NEWS / EXHIBITIONS

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