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In Her View

‘No consent was given for the photograph to be taken. The capture of my body in this way is a form of torture.
The photograph is evidence of the entitled authority and fundamental corruptions of the male soldiers and the occupying military forces.’

Helene Kazan


27 mei 2024 • 1 min

Screenshot from film chapter ‘In Her View’, which engages an archival document revealing the sexual exploitation of an anonymous woman by occupying Australian soldiers fighting for the Allied forces in Lebanon in 1941. The film moves through the archival evidence to sense, trace, and position her encounter as a formation of poetic testimony. The image shows extracted noise, levels, focal length, and balance from the archival image to generate a 3D model of its violent points of interaction, this is without showing the image itself. A technique developed with Anabel Garcia-Kurland on human/non-human modelling in the making of the film. Frame of Accountability, 01:00:00, Helene Kazan, 2024.

This is part our of series on 'documents' in collaboration with the-documents.org. Read the introduction here.

Helene Kazan is an artist, writer and educator. Her work investigates ‘risk’ as a lived condition produced through the conjoined violent effects of capitalism and conflict. This is observed in the colonial roots of international law and its material formation of the lived-built environment. In response, she uses decolonial, feminist, poetic and critical-legal approaches in her work, which explores ways of dismantling the ongoing effects of neo-colonial violence towards wider frameworks of accountability and justice.

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