Fig. 1. Yates, 2019. Mong Chen Hill.

CRITICAL REVIEW OF PRACTICE

‘The story of the Genocide that happened between 1975 and 1979 in Cambodia has faded

gradually away from people’s minds, like smoke being blown away by the wind’.

Mak Remissa, 2014.

Remissa is a leading Cambodian photographer. My project is not about reconciliation; rather it

aims to break open the silence he observes. For both Cambodian and Western audiences, it is

challenging our memories of what happened and suggesting lessons.

In most of my photographic career, I have recorded what was in front of me, usually using colour.

In the MA I have moved to constructing narrative through metaphorical landscapes in black &

white. My practice has also become research-led in exploring documentary, better understanding

Cambodia and evaluating the social context of Genocide.

For twenty years my wife and I have worked in partnership with many Cambodian groups –

government, NGO and private. That spirit is now being translated into a broader socially engaged

photographic practice.1

Mick Yates FMP Critical Review of Practice Page of 2 20

The idea of Unfinished Stories appeared early in the MA, to make public the stories of people that

we have known for twenty years and who suffered during Khmer Rouge times.

What I had not expected was that even in the Country where it happened, few know the real

history of the Khmer Rouge atrocities. I also had not fully anticipated the catharsis that this project

would have on all concerned. In some cases, first conversations within families have taken place.

PROJECT

Between 1975 and 1979 the Khmer Rouge killed 1.7 – 2.2 million people  in their attempt to

create an agrarian society cleansed of the urban intelligentsia. Forty years later the Genocide’s

devastating impact on Cambodian society still resonates. What happened to the individuals that

survived those horrific times has largely been left unspoken.

Fig. 2. Yates, 1994. Choeung Ek & Tuol Sleng.

Our collective memory is driven by the images of ‘mug shots’ of victims of the Tuol Sleng torture

facility and human remains from the Choeung Ek ‘Killing Fields’. Those accused were meticulously

photographed, tortured until they confessed and killed. The camera was in effect their executioner.

Yet there are almost 20,000 grave sites across Cambodia which go unnoticed and are mainly

unmarked. Prince Sihanouk tried to stay neutral, but he allowed Vietnamese supply lines to cross

the country during the Vietnam War.

US bombs killed tens of thousands of innocent Cambodians in a vain effort to disrupt these trails.

This helped push the population towards the Khmer Rouge.

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Death was all over the country for years. Even today the prevailing narrative is that a ’few very

bad people’ caused the Genocide, but this fails to build discourse on its all-encompassing

geographic and social impact.

The complex story of the Genocide is buried in an anonymous landscape.

Until the death of Pol Pot in 1998, part of the country remained under Khmer Rouge control. In

1999, my wife and I founded a primary school program in the Reconciliation Areas. Working in

collaboration with Save the Children, the Ministry of Education and even some ex-Khmer Rouge,

our partnership helped rebuild the local primary school system. Keo Sarath and Beng Simeth,

despite traumas of the Genocide years, led the programs and became our friends.

Unfinished Stories  uses photography, text and video to bring to light some of the previously

unheard stories. The work uses first person accounts of the atrocities, with each photograph

carrying a quote in Khmer from Sarath or Simeth describing the horror they lived through and

anchoring the image in place. Infrared photography underscores the strange phenomenology of

the now often beautiful landscape that witnessed the Genocide (fig. 1). The resultant series is

complex, out of time and paradoxical.

RESEARCH-BASED PRACTICE

Prior to FMP successive trips to Cambodia (four in fifteen months) were focussed on field

research to develop oral histories. I photographed unmarked Killing Fields and other places with

connection to the stories.

During FMP research has continued into Genocide, dark tourism, atrocity, ethics and aftermath, 2

both academically and for practical application. I have also investigated constructed narrative . 3

GENOCIDE AND PLACE

When visitors got to Tuol Sleng they see walls of the faces of the victims. At Choeung Ek tourists

walk amongst mass graves marked for public navigation. The places are tourist mausoleums.

So, how should we properly witness Genocide? In many ways it is unimaginable and

unrepresentable. Adorno went so far as to say that there could be no poetry after Auschwitz

(1951: 34). Claude Lanzmann’s Shoah (1985) is perhaps the quintessential movie on the Holocaust

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and uses interviews with survivors, witnesses and perpetrators whilst totally eschewing archive

materials. There is no easy creative solution, not least as every Genocide is different.

The Western collective memory of the Holocaust is driven by pictures of the Nazi camps, either

starving survivors or the remains of the dead. The Soviet memory is different. Whilst liberation of

eastern camps was recorded, the army discovered unmarked graves and mass executions.

Genocide was everywhere in the landscape, foreshadowing the Cambodian experience.

Hannah Arendt, in discussing the trial of Eichmann, famously (and controversially) coined the

phrase ‘the banality of evil‘. She did not mean that evil was an everyday occurrence, rather that is a

recurring aspect of human history. (Didi-Huberman, 2008: 162).

Edward Relph, in Place and Placelessness created a typology of place in which the Khmer Rouge

would be ‘objective outsiders’, viewing places passively, and eliminating any prior emotional,

cultural or social connectedness. Human life had no value.

For the Khmer Rouge, the land itself was a place of banal and everyday evil.

I determined to imbue these anonymous landscapes with deeper meaning.

AFTERMATH

Susie Linfield argued that public exposure to images of atrocity is necessary, putting ethical

responsibility on the viewer. Yet few physical traces of the Cambodian Genocide remain beyond

the museums. Tourist photographs are often taken with little thought. Even the most well-

intentioned can fall into seeking dark thrills. Allan Sekula warned:

‘… in this pictorial presentation of scientific and legalistic ‘fact’, the genre has simultaneously

contributed much to the spectacle of retinal excitation, to voyeurism, to terror and nostalgia,

and only a little to critical understanding of the social world’. (1978).

Philip Stone suggested a continuum of darkness, from the thrill seeking to the bearing of witness

and personal remembrance. In that context, a visit to Tuol Sleng is both the darkest of acts, with

human remains anonymously on display, and an ideological event of deep morality. Bowman and

Pezullo suggest a performative sense for photography as an activity of hope.

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‘… death is not merely an event in our past. Negotiating memory is not just about preserving

history, but also about shaping the present and the future’. (2010:194).

Narrating tragedy in retrospect is an intellectual challenge. Campany talks of ‘late photography‘.

Woollen considers this ‘cool photography’. And De Duve writes about ‘time exposures’. All are

referring to photography after the fact, rather than photography as news. (Campany, 2003). 

Susan Meiselas’ Kurdistan and Allan Sekula’s Fish Story have been instructive. Both are research

intensive with a rich narrative. Meiselas explores the fate of the Kurdish people. Sekula examines

globalisation. Both utilise Sekula’s ‘critical realism’, seeking new forms of reflective documentary.

Sophie Ristelhueber (Fait, Iraq), Alan Cohen (The European Ground, Holocaust) and David Farrell

(Ancient Landscapes, Northern Ireland) tell past stories with current photographs of landscape or

traces of place. Ristelhueber was reporting on recent events and she used visible remnants of war.

For Cohen, the Holocaust was long gone, and physical manifestations were crumbling.

Fig. 3. Cohen 2001. Buchenwald.

Cohens’ solution (fig. 3) was indefinable landscapes which require the viewer’s imagination and

cooperation. Farrell’s approach was to challenge the audience’s interpretation of beautiful places.

Yet Ristelhueber, Cohen and Farrell’s work are stubbornly impersonal.

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Simon Norfolk’s For Most Of It I Have No Words bluntly showed the appallingly intimate aftermath

of Genocide – skulls, ‘mug shots’, torture instruments. Aesthetics are his escape from dark

triteness, though one wonders how successfully.

Broomberg and Chanarin in Red House (fig. 4) offer a more sophisticated view, with graffiti traces

left by victims.

Fig 4. Broomberg & Chanarin. Red House

But none of these photographers are dealing with individual biographies. Natalie Herschdorfer

summed up the photographic paradox:

‘Can peaceful, seemingly ordinary places evoke experiences of horror and death? Do the scars

of history leave a permanent imprint on a landscape?’ (2011: 14).

As the project developed, the emergent challenge was how to connect past stories with current

location. John Berger suggested that a photograph alone cannot fully communicate intention.

‘Photographs in themselves do not narrate. … Unlike the storyteller or painter or actor, the

photographer only really makes, in any one photograph, a single constitutive choice: the choice

of the instant to be photographed. The photograph, compared with other means of

communication, is therefore weak in intentionality’. (1967: 65)

A central activity of FMP was thus exploration of text in photography .4

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Fig 5. Seawright, 1988. Friday 25th May 1973.

Paul Seawright (fig. 5), Karen Knorr and Duane Michals all show the power of text. Seawright

combined a police report with a jarring photograph taken at the site of the murder.

Paula Luttringer in Wailing of the Walls (fig. 6) used text and semi-abstract location photographs. In

1977, Luttringer was kidnapped and held in a secret detention centre. Eventually she returned to

the country and photographed the cells. She included powerful testimony from herself and other

victims within in the final image.

Luttringer’s images are self-contained and the series suggests a collective narrative. The work is

exploring not just what is in front of us today, but the traces of what was there across time.

Memories are examined and to some extent created.

But Luttringer was able to depict still-existing physical locations of the internment, something I

cannot properly execute in Cambodia.

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Fig. 6. Luttringer, 2000-2010. Lamento de los Muros.

My own investigation started with colour traces in the style of Ristelhueber.

I then moved to negatives (fig. 7) for Landings , evaluating novel surfaces to carry the story.5

Fig. 7. Yates, 2018. Preah Vihear, Landings.

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Fig 8. Glickman Lauder, 2018. Jewish Gravestones, Krakow,

Judy Glickman Lauder was an inspiration for this shift (fig. 8).

In Beyond the Shadows: The Holocaust and the Danish Exception, there is a curious combination of

indexicality and otherworldliness as she mixes black and white, negatives and infrared. Glickman

Lauder speaks of ‘timelessness’ in her infrared. Her work seems strangely unanchored even though

place is clear, and she speaks of ‘ghosts’. In my work a more appropriate word is ‘hidden’.

The Cambodian context is deeply rural. In Khmer Rouge times, the country was thick with woods

and forest. Infrared allows us to examine that environment. Because of chlorophyll’s transparency

to light background vegetation becomes white to create luminous backdrops (fig. 9).

To construct my narrative, the quote from either Sarath or Simeth is written first in Khmer and

then in an English translation. The Khmer script anchors the work in place, whilst also challenging

the viewer’s understanding of what they are seeing, opening up the encounter with the

photograph. The story is a Cambodian story first and foremost. Sarath described this as a

traditional Cambodian meal of ‘soup and rice’. Both are good alone, but together are better.

The constructed images are symbols, in Pierce’s semiotic sense, as they represent sites where

things happened, without being literally that place. They are phenomenological geography.

Artificiality is being balanced with reality, to create a paradox, a questioning of what is seen.

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Fig. 9. Yates, 2019. Kirirom.

PUBLIC PRESENTATION

The Bath Royal Literary and Scientific Institution (BRLSI) is the venue for the December event.

BRLSI have an active public education program, and are ideally suited to the subject. My aim is an

installation which encourages audiences to question events and want to know more.

The installation features a simple, clean hanging of 14 of the infrared images, with a roughly 6

chronological order of stories from Sarath and Simeth. The show opens with my artist’s statement,

then focuses attention on the images, punctuated only by a video interview of Sarath. I am making

use of BRLSI’s display cabinets to explain Cambodian history, and then the more positive

education programs. Posters are hung with stark quotes from the Khmer Rouge, echoing the use

of words of the victims. The photographs are printed in a borderless metallic finish, emphasising

the indefinable qualities of the story. Text is embedded, so creating a single object with multiple

layers of possible interpretation. A fuller examination of the curation process is in the CRJ. 7

The feedback has been gratifyingly positive, with the combination of photograph and text being

particularly well received. Comments contain words like ‘thought-provoking’, ‘courageous’, ‘sad’ and

‘beautiful’, underlining the paradoxes inherent in the work. The CRJ has more on reviews. 8

I am seeking new venues for 2020, both domestically and in Cambodia, including contacting

Genocide and history museums.

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A book has always been an important deliverable, both for our friends and as part of the public

literature which explores the Genocide.

Final book designs and content were completed within FMP. There is an extended series of the

infrared images, although all is written in English reflecting Cambodian advice. Printing was in

Phnom Penh in hardback and to photo-book standards. Whilst this has stretched the capabilities

of the local printers, it is confirmation of collaboration with and commitment to the Country.

I received local support on print production from Remissa and others. They commented on the

project’s importance to the Country, which was heartening. The book will go on sale in 9

Cambodia via a leading distributor. I have also secured a UK ISBN and the book has just been

listed in Topping & Company, one of the UK’s leading independent booksellers.

The first shipment from Cambodia (40 books) has already sold out, mainly via the exhibition.

ETHICS

Since 1999 ethical considerations have been central to how we proceeded in Cambodia, and this

has continued during the MA. The collaborative nature of the project and discussions with, e.g.,

the Documentary Center of Cambodia has ensured that the subject is dealt with sensitively.

Fig. 10. Mak Remissa, 2014. Left 3 Days.

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Paul Martin Lester’s Systematic Ethical Analysis (SEA) is a practical approach using ideas such as the

Golden Mean and Utilitarianism. But he does not consider network effects, culture, politics or

power. I have created a broader ethical framework and will continue to research it. For example:

The Subject. I have always taken photographs with respect and permission – either from

the subjects themselves or with the agreement of the schools, teachers and families.

During the school project, we supplied prints of images, especially as Khmer Rouge

families had little photographic record. Our first involvement in Cambodia was before the

guidelines such as those created by Save the Children. It seems that we anticipated their

general approach . For the FMP, I am not using portraits although I have visited many 10

schools and communities. I have adhered to the same principles.

Cultural Perspective. Cambodian society has deep Buddhist roots, albeit in sometimes

hidden ways. We have constantly 'checked in' for local views on our work, starting with

the education program and now in photographic terms. My images take a respectful

approach and never portray either the culture or the subjects in an ‘othering light’. Whilst

this arguably is less 'punchy' than a journalist might be, it has still led to a unique and

impactful body of work. There is some photography on the Genocide produced locally,

including by Mak Remissa (fig. 10) in Left 3 Days, and Rithy Panh, in his movie  The 11

Missing Picture. . The use of allegory seems central. Whilst local executions have not 12

driven my work, the use of metaphor is similar.

Power Relationships.  As both a 'change  agent’ in education and a documentary

photographer,  I tread carefully in Cambodia, to be sure that there are no inadvertent

political issues for our friends and colleagues.

The reputation of my wife and myself in Cambodia is good as we acted in transparent

and we hope principled ways, including an overt decision to work with ex Khmer Rouge.

This led to us receiving medals from long-standing Prime Minister Hun Sen, who frankly

has a poor international reputation in human rights. We accepted on behalf of the

children and our partners. That said, in the past two years there has been a severe

crackdown on journalism during the election period, and many foreign NGOs have pulled

back from the Government. A low profile was important.

My CRJ includes a fuller examination of the project’s ethical considerations. 13

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THE SUBLIME

My landscapes are sometimes described as ‘beautiful’ despite the subject matter. I have consciously

sought a disjoint aesthetic: natural beauty and human horror. There is an intriguing relationship

between these paradoxical ideas.

An-My Lê commented on the connection between beauty and the Sublime.

‘I think there’s always an element of something not quite understood in the Sublime, something

otherworldly, conflicting – something beautiful that’s not always beautiful, and something that’s

not quite controllable and within our reach‘. (In Stallabrass, 2013: 46).

Fig. 11. Turner, 1842. Snow Storm: Steam-Boat off a Harbour’s Mouth.

Casper David Fredrick or J.M.W. Turner (fig. 11) are exemplars of the artistic Sublime. They

created beautiful paintings which are both otherworldly and awesome in the most literal sense.

Whilst in everyday language we usually consider the Sublime as something wonderful, its

etymology unearths something more powerful.

Jean-Francois Lyotard suggested that the Sublime is not so much about the unrepresentable, but

the presentation of the fact that the unrepresentable exists. (Malpas, 2003: 46).

Genocide is a case of the unrepresentable.

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Gene Ray, in his volume of essays Terror and the Sublime in Art and Critical Theory notes that beauty

is about reconciliation with nature, whilst the Sublime is terror and awe. He suggests that 20th

Century Genocide replaced natural disasters as examples of the sublime.14

‘In the twentieth century, the genocidal catastrophes of human making displaced the natural

disaster as the source of Sublime feelings and effects – but with a crucial difference. In

bourgeois aesthetics, exemplified by Kant’s 1790 Critique of Judgment, the pain of

imagination’s failure before the power or size of raw nature was compensated for by reason’s

reflection on its own super sensible dignity’. (2005: 5).

I plan to continue practical and academic research into the Sublime post-MA.

CONCLUSIONS

The MA has significantly shifted my practice. First, it has led to new creative approaches. Second,

whilst collaboration has always been embedded in our social development work, these engaged

processes will figure more overtly in my documentary photography. Third, the MA has generated

a desire to further research both the ethics of photography and the Sublime.

And, finally, the MA has opened up the discourse with our Cambodian friends in great depth. The

photography and the book have provided punctuation points for both them and me in their

previously Unfinished Stories, but the journey is far from over.

We often look at pictures and dissect them, rather than considering them as a whole. The

Western tradition is reductionist, with perhaps Barthes’ Punctum being its ultimate manifestation.

Eastern traditions encourage us to consider totality, exemplified in this verse from the Dàodé Jīng:

The five colours blind the eye.The five tones deafen the ear.The five flavours dull the taste.Racing and hunting madden the mind.Precious things lead one astray.

Therefore, the sage is guided by what he feels and not by what he sees.He lets go of that and chooses this. (Feng, 1996: Twelve)

I hope that my work invites people to feel, think and not just look. (3280 words)

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LIST OF FIGURES

Figure 1 - Mick Yates. 2019. Mong Chen Hill.

Figure 2 - Mick Yates. 1994. Choeung Ek (Killing Fields) and Tuol Sleng.

Figure 3 - Alan Cohen 2001. Buchenwald. Scan from On European Ground, page 61.

Figure 4 - Adam Broomberg & Oliver Chanarin. 2006. Graffiti. From Red House. Available at: http://

www.broombergchanarin.com/red-house-1-1/

Figure 5 - Paul Seawright. 1988. Friday 25th May 1973. From Sectarian Murder. Available at: http://

www.paulseawright.com/sectarian

Figure 6 - Paula Luttringer. 2000-2010. From Wailing of the Walls. Scan from Natalie Herschdorfer.

2011. Afterwards. Page 29. London: Thames & Hudson.

Figure 7 - Mick Yates. 2018. Preah Vihear. From Traces, Falmouth Landings.

Figure 8 - Judy Glickman-Lauder. 2018. Jewish Gravestones, Krakow. Scan from Beyond the Shadows:

The Holocaust and the Danish Exception.

Figure 9 - Mick Yates. 2019. Kirirom.

Figure 10 - Mak Remissa. 2014. Left 3 Days. Available at: https://www.asiamotion.net/photo-stories/

remissa-mak/left-3-days

Figure 11 - J.M.W. Turner. 1842. Snow Storm: Steam-Boat off a Harbour’s Mouth. Part of the Turner

Bequest 1856. Available at: http://www.tate.org.uk/art/work/N00530

Mick Yates FMP Critical Review of Practice Page of 16 20

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BOWMAN, Michael & PEZULLO, Phaedra. 2010. What’s so Dark about Dark Tourism – Death Tours

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banality-of-evil (accessed 16/10/2019).

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NOTES - WEB LINKS

Mick Yates. 2019. Socially Engaged Photography. Available at: https://www.yatesweb.com/socially-1

engaged-photography/.

Mick Yates. 2019. A Research-Led Practice. Available at: https://www.yatesweb.com/a-research-led-2

practice/.

Mick Yates. 2019. A Constructed Image. Available at: https://www.yatesweb.com/a-constructed-3

image/.

Mick Yates. 2019. Photographs With Text. Available at: https://www.yatesweb.com/photographs-4

with-text/.

Mick Yates. 2018. Traces, Falmouth Landings. Available at: https://www.micksphotostories.com/5

traces

Mick Yates. 2019. Exhibition Walk Through. Available at: https://www.yatesweb.com/exhibition-walk-6

through/.

Mick Yates. 2019. Reflections on Paradox - Curation. Available at: https://www.yatesweb.com/7

reflections-on-paradox-curation/

Mick Yates. 2019. Feedback and Reviews. Available at: https://www.yatesweb.com/reviews-and-8

feedback/

Mick Yates. 2019. Unfinished Stories - From Genocide To Hope. Available at: https://issuu.com/9

mickyates/docs/unfinished_stories___from_genocide_to_hope.

Save the Children (UK). 2017. The Children in the Pictures. Available at: https://10

resourcecentre.savethechildren.net/sites/default/files/documents/the_people_in_the_pictures.pdf

Mak Remissa. 2014. Left 3 Days Artist Statement. Angkor Photo Festival & Workshop. Available at: 11

https://angkor-photo.com/programme/remissa-mak-asia-motion/.

Nick Bradshaw. 2019. Memories of Murder: Rithy Panh On The Missing Picture. Available at: https://12

www.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/memories-murder-rithy-panh-

missing-picture.

Mick Yates. 2019. Cambodia Project Ethics. Available at: https://www.yatesweb.com/cambodia-13

project-ethics/.

Mick Yates. 2019. Auschwitz And Memory. Available at: https://www.yatesweb.com/auschwitz-14

memory/.