Images of War, War of Images

The common day widespread production and reception of images of war raises many questions. At LEFFEST we consider it is essential to dedicate time to question the way war is represented and the consequences the representation has in the individual and collective imagination; art; in our relationship to others, and other affected spheres.


Throughout history, War has been depicted, from the Palaeolithic era with cave paintings illustrating conflicts between clans. To the present day, with an endless stream of images on social media of war in Ukraine and the Gaza massacre. Denunciation, propaganda, storytelling, information, manipulation... Images have fulfilled different purposes, each with its own consequences. But they have always been subject to becoming weapons of war. And today, more than ever, a war is first and foremost a war of images. The victory of a war depends on the victory of images. War is always constant even if we don't experience it in person: whether through television, social networks, newspapers... Our exposure to its representations is persistent. Those who don't acknowledge war consciously decided to turn a blind eye.

Mobile phones have made it possible for nearly everyone to film, photograph, and share images. This accessibility provides crucial evidence of atrocities that can drive social action and serve as legal proof, creating a link between victims and people far from the conflict. However, these images can also be used to construct enemy figures, manipulate perceptions of a war, and polarise opinions, often simplifying the world into “bad guys” and “good guys.” This approach tends to focus on evoking strong emotions rather than fostering thoughtful reflection. The constant stream of images of destruction and suffering can lead to desensitisation and normalisation of violence. On social media, we can swiftly move from viewing a corpse in Gaza to advertisements for body cream, compressing our engagement with each image into mere seconds. In those moments, our emotions may align, but thoughtful consideration requires time, which we often lack. The distinction between informative content and unethical voyeurism is often subtle and unconscious.


In the midst of this image-consumerism, what space is left for art, and what weight does it carry? Historically, works of art were a primary medium for conveying information and providing knowledge. They informed, told, manipulated, but always through the pursuit of beauty and aesthetics. Today, it seems that war has to be represented in a stark, unembellished manner.

This raises complex ethical questions: On the one hand, we must ask ourselves to what extent we can and should make human misery beautiful and aestheticise it, and on the other, understand when authenticity ends and indecency begins (to what extent should we film/photograph a corpse?).


At LEFFEST'24 we want to create a space for reflection. A pause, in the sensationalist flow of war images, to think about their meaning, how they affect us as human beings and as a society, and what place the arts have in representing. Images are weapons of war: can art be a weapon against war?


Discussions
Slavoj Žižek and Udi Aloni
Nida Ibrahim and Alexandra Lucas Coelho
Noël Quidu

Screenings with debates

Silvered Water, Syria Self-Portrait, Ossama Mohammed e Wiam Simav Bedirxan, 2014 – Followed by a conversation with director Ossama Mohammed

Night and Fog, Alain Resnais, 1956 – Followed by a conversation with Sylvie Lindeperg

S-21: The Khmer Rouge Killing Machine, Rithy Panh, 2003 – Followed by a conversation with director Rithy Panh

A Portuguese Farewell, João Botelho, 1986 – Followed by a conversation with director João Botelho

Exhibition

War and Peace