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The after-effects of mass atrocity – bodies and bones – struggle to be definedwithin memorial projects. This article seeks to examine the politics at play indisplaying dead bodies to interrogate the role of materiality in efforts tomemorialise and raise awareness about on-going violences. It focusses on thenexus between evidence, dignity, humanity and memory to explore bone display inRwanda. It then takes up two artistic projects that play on the materiality ofhuman remains after atrocity: the art of Carl Michael von Hausswolff, who tookashes from an urn at the Majdanek concentration camp and used them as thematerial for his painting, and the One Million Bones Project, an installationthat exhibits ceramic bones to raise awareness about global violence. Inthinking about the intersections between human biomatter, art and politics, thearticle seeks to raise questions about both production and consumption: howbones and ashes of the dead are produced, and how they are consumed by viewerswhen placed on display in a variety of ways.

Displaying dead bodies: bones and human biomatter post-genocide