A photography exhibition currently on display in London was the subject of an article appearing in the BBC News website’s ‘culture’ section on October 7th. The same exhibition was also the topic of an item (available from 15:42 here) broadcast in the October 18th edition of BBC World Service radio’s ‘Newshour’.
Here is how presenter James Coomarasamy framed the report’s subject matter in his introduction: [emphasis added]
“Now, getting to the truth of the ultimate crime of murder – whether that of an individual or genocide – is a painstaking job. Photographs are integral to the evidence gathering process. They’re used in courtrooms around the world as an essential tool for justice. Now, ‘Burden of Proof’ is the name of a new exhibition at the Photographers’ Gallery here in London and it charts the changing history of the form, from photographs of a crime scene in the 19th century to the graphic reconstruction of a recent bomb attack on Gaza.”
And indeed, tucked in between depictions of Victorian-era murder scenes, victims of Stalinist purges and the Holocaust and Joseph Mengele’s skull, is the following exchange (from 19:08) between Coomarasamy and the venue’s Head of Exhibitions Clare Grafik.
Commentary: [sound of explosions] “This is the bombing of the Tannur neighbourhood: the deadliest attack of the first of August 2014. [sound of screaming]
Coomarasamy: “This is the ‘Gaza Book of Destruction’; we’ve got video and this is a graphic reconstruction of what would have been there.”
Grafik: “What it shows is how ‘Forensic Architecture’ use digital technology to reconstruct a bombing. What they’ve done is they’ve taken footage of the bombing and they’ve frozen literally a few seconds in time around that bombing and have picked it apart with satellite imagery, with architectural software, to try to reconstruct what happened.”
JC: “And this is being done, I see, in collaboration with Amnesty International. What’s the goal of this reconstruction?”
CG: “To try and prove that certain strengths of bomb were used in this attack that were originally denied.”
JC: “So we now have moving images trying to make sense of how people died?”
CG: “Yes – essentially – and also how those moving images become increasingly subservient to software and data.”
Coomarasamy did not tell listeners is that the incident portrayed in this exhibit took place during the 51-day conflict between Israel and terrorist groups in the Gaza Strip in the summer of 2014 or that the Tannur neighbourhood is located in Rafah and that the August 1st 2014 counter-offensive there took place because Hamas had broken a ceasefire by kidnapping Lt Hadar Goldin. Neither did Coomarasamy clarify that of the 41 Gazans killed in that particular counter-offensive in Rafah, 12 have been identified as terrorists and 13 as civilians, with the rest categorized as undetermined, but “of fighting age”.
Coomarasamy also refrained from informing audiences that Amnesty International’s campaign of ‘lawfare’ against Israel includes the use of this incident and he likewise made no effort to explain what the organization called ‘Forensic Architecture’ is and who is behind it or that it also partnered Amnesty International in the production of an app called ‘the Gaza Platform’ which reproduces and promotes one-sided and inaccurate information put out by two of AI’s lawfare partners – Al Mezan and the PCHR.
So, whilst failing to make any effort to provide BBC audiences worldwide with either the context or insight into the political motivations behind the exhibit to which he gave amplification, Coomarasamy did propagate the notion that Israeli actions during a military campaign brought about by terrorist attacks on Israeli civilians should be lumped into the same “ultimate crime” category as criminal murders, political murders and genocide.