Qual visualidade para o êxodo em massa?

Abstract

The migratory crisis of Syrian and Iraqi refugees has not escaped the attention of today's major institutions of photojournalism. In addition to the “masterpieces” of photojournalism, the iconography of this crisis includes the “amateur images” made by the refugees themselves, according to the complex itineraries and itinerancies, which draw a moving map of migration. These are images whose sincerity and demonstrative value have inspired great media networks (Exodus: our journey to Europe, BBC, 2016), which have seen them as expressions of rediscovered authenticity. Then, certain artistic proposals made use of military technologies capable of producing thermal maps of migratory flows (Richard Mosse, Incoming, 2016), while questioning the viewer's place in the face of this form of visual exploration. Which topographies of migration do these three modes of visual production - journalistic and canonical, amateur and diasporic, military and artistic - establish? What are the political operations to be recognized in each of these representative regimes? It is to the study of topics, beliefs and critical perspectives found within this visual triangulation of the exodus that this article is dedicated.