War has different temporalities. There is the actual war – the execution of organized large-scale physical force – and there is its aftermath. Both temporalities are explored in photography in abundance, capturing visually what war looks like and what remains of it.
There is a third temporality, however, also a “signature of violence” (Manaugh 2020: 19), yet one that does not appear prominently in photography. This temporality references war’s preparations, its “spatial prerequisites” (Manaugh 2020: 11): the locations, buildings and sites where war is being prepared for, where armies train, where weapons systems are developed and constructed, and where the effects of warfare are researched. Without this dimension, the visualization of war remains incomplete.
In Holidays in the Danger Zone: Entanglements of War and Tourism (2016), Debbie Lisle analyzes “dark” or “political tourism,” i.e. tourism encountering the aftermath of violent conflict. Lisle’s book elucidates what encounters of war and tourism looked like indifferent historical constellations (for example, the British Empire, post-World War II, bipolarity, and the “War on Terror”). It shows that these encounters are historically contingent, differing across space and over time, and that very often “counterconducts” can be found – social practices ignoring or challenging the hierarchical order within which they operate and which they are supposed to confirm.
We are pleased to share the Call for Papers for the biennial conference of the European Peace Research Association in August 2021. Next year’s conference themed Empowering Peace: The role of civil society in peacebuilding and conflict transformation will take place at Tampere University, Finland.
Imageandpeace is delighted to present the photographic essay “Between Violence and Peace” by Shihab Chowdhury. The artwork – eleven photographs and explanatory text – engages with a subject – the Finnish Civil War – that is still capable of dividing opinion in Finland more than 100 years after it took place.
“What is peace? You can’t make peace if you know nothing about it.” – Mira Sidawi in Imagine
Many violent conflicts have been covered by photographers, and many have been forgotten again. Our attention span is staggeringly short. Therefore, it is a highly interesting endeavour to re-visit well-known scenes of conflict and to explore today’s situation. And for us, who are exploring and searching for visions of peace, it is even more interesting to see the current situation through the camera lenses of photographers who have already reported about a conflict during the peak of violence. This is the concept behind Imagine: Reflections on Peace, a volume comprised of both photo and written essays.
Imageandpeace.com warmly welcomes Alexander Spencer among our Friends and Supporters.
Alexander Spencer holds the Chair of International Relations at the Otto-von-Guericke University Magdeburg. His research focuses on constructivist approaches to peace and conflict, the role of cultural narratives and (visual) metaphors in international politics, discourse analytical methods and the social construction of policy failure.
He has published on these issues in a number of journals including European Journal of International Relations; Journal of European Public Policy, Cambridge Review of International Affairs, Peace and Change; Security Dialogue, International Studies Perspectives, Foreign Policy Analysis and Journal of International Relations and Development.
His most recent research monograph titled “Romantic Narratives in International Politics. Pirates, Rebels and Mercenaries” was published with Manchester University Press in 2016.
Imageandpeace.com warmly welcomes Oliver Richmond among our Friends and Supporters.
Oliver Richmond is a professor of international relations and peace and conflict studies at the University of Manchester. His primary area of expertise is in peace and conflict theory, and in particular its inter-linkages with IR theory. He is currently working on a book entitled Peace in the 21st Century. This study examines the evolution of the different strategies for maintaining international order in contemporary history and engages with new questions about peace and war raised in the digital era.
He is also leading on a major research project on the ‘Art of Peace’ about community devised arts based peacebuilding.
His previous work was on peace formation and its relation to state formation, statebuilding, and peacebuilding.
This area of interest grew out of his work on local forms of critical agency and resistance, and their role in constructing hybrid or post-liberal forms of peace and states, as well as earlier conflict resolution and conflict management debates in IR, including international mediation, peacekeeping, peacebuilding, and state formation debates.
What catches the attention of one of the most famous war photographers in times of alleged peace? The answer to this question is displayed in the exhibition Robert Capa: Berlin Summer 1945 at the Centrum Judaicum at the New Synagogue Berlin.
Imageandpeace.com warmly welcomes Debbie Lisle among our Friends and Supporters.
Debbie Lisle is a professor in politics and international relations at Queen’s University Belfast.
Debbie’s research engages with a number of contemporary debates in International Relations, International Political Sociology and beyond, most notably around issues of difference, mobility, security, travel, visuality, governmentality, biopolitics, materiality, technology, practice and power.
Her earlier work explores the relevance of cultural and visual artifacts (e.g. contemporary travel writing, museum exhibits, photographs, art, war films) to world politics, and argues that the cultural realm tells as much about International Relations as the official documents usually privileged in this context.
Debbie is interested in how war is represented across visual and cultural realms. Her recent work has examined the encounters that tourists have in sites of war, war exhibitions and war museums, and she is currently involved in museum efforts to think critically and creatively about how to represent the Troubles in Northern Ireland.
More recently, Debbie has become interested in how visualities of war operate at the more-than-representational register, for example, how visual technologies are productive of war and conflict (e.g. drones, surveillance, governmentality).