Abstract
This paper looks particularly at the ways in which artists have employed photography in projects and interventions, which act to disrupt the established discourse of authenticity in museum narratives. Using four examples the article considers how photography has been used by artists to problematise museological constructions of ethnographic and historic veracity. In particular it focuses on the ways in which categories, such as “real” and “authentic”, which have traditionally been stabilised through photography’s “truth effect”, can be made permeable and discursive through the same medium. It examines photography performed, manipulated and appropriated and considers its role in (de)stabilising facts and fictions which contribute to a critical and ethical understanding of past events and their role in shaping possible futures.
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