The after-effects of mass atrocity – bodies and bones – struggle to be defined
within memorial projects. This article seeks to examine the politics at play in
displaying dead bodies to interrogate the role of materiality in efforts to
memorialise and raise awareness about on-going violences. It focusses on the
nexus between evidence, dignity, humanity and memory to explore bone display in
Rwanda. It then takes up two artistic projects that play on the materiality of
human remains after atrocity: the art of Carl Michael von Hausswolff, who took
ashes from an urn at the Majdanek concentration camp and used them as the
material for his painting, and the One Million Bones Project, an installation
that exhibits ceramic bones to raise awareness about global violence. In
thinking about the intersections between human biomatter, art and politics, the
article seeks to raise questions about both production and consumption: how
bones and ashes of the dead are produced, and how they are consumed by viewers
when placed on display in a variety of ways.