Abstract
The paper focus on the transformation of political memory and the current position of a culture of memory associated with outsourced view of the past. Remembrance as a form of alignment with a traumatic past brings specific visual expressions to the border of documentary and art.
The special position occupied here by so-called materialized memory acquires a concrete (image) form and its communication strategy, which makes the recipient a direct witness to events. This materialized memory could be a critical position, although the recipient is in a complicated interpretation situation.
The visualization of pain necessarily encounters the problem of aesthetics, which connects us with the suffering of the victims, leads to the question of morality and ethical boundaries. The center of the contribution will mainly address issues of (un)representation in the handling of traumatic pastures.