The photo reminds us, Our histories, traumas, or pleasant memories and events are in the well of our soul, and they wait for different triggers to release them, thereby surfacing what is locked or far away, as if returning to our consciousness . Memories (the moments of witnessing) buried in photographs act as inner notes, some pleasant, many unpleasant, the photograph always reverberates whether we are present or not. Then, photos are hot molecules, like a blender working in the cool, dark corners of our minds. When we are caught off guard by the effect a photo has on our hearts, it can be overwhelming, if not immediately, as the image wanders and lingers like a thief in the night. It is impossible to overexpose the violence of the image in this regard. This is the colonial prerogative of the Northern Hemisphere. Ignoring the violence of the image only makes its ability to haunt it even stronger.
Time tells us that photographs can point to escape routes from the essentialized Western visual system. Different eyes prioritize different points of reference, in a radical curatorial pluralism that encourages the meaning of photographs to change and shift over time; here they play the role of historical liars, awkward floating signifiers that avoid essentialization ‘s gaze.
Photographs, especially those designated as unimportant, were buried beneath the weight of time and awaited from fossil-like chambers and The weight unleashed in the violent cultural spaces that house them makes things of the past real. Yet photographs of work, especially those that knead colonial meanings and those that stir or disturb our humanity by reminding us of the pain we endured and the gains we have achieved, help us acknowledge that we must cherish all of the worlds memory.
I am most interested in photos that help us understand our dark past and help recover the conditions we can feel and see Representative Nursing Behaviors. In this cultural caring work, many “others” in the world, especially those who suffer from various forms of violence and silence in the West, can be seen and heard in what we now see and, if cared for correctly, can also Get a break, but more importantly, have a say in the future. I would encourage this curatorial practice as a form of resistance work, literally and figuratively dismantling the cruel and generalized modernist mentality. It contributes to and builds on the interdisciplinary education and knowledge production needed to recover from the expansion of Western visual institutions.