Seeing Like the Red Cross: The Permanent Exhibition of the International Red Cross and Red Crescent Museum

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Notes

1. In this sense, this review draws and expands from my previous work. See (Quiroga-Villamarín 2021, 2023b, 2023a).

2. I thank Kéré Architecture for their permission to reproduce this image (file 5_026) on 12 March 2024.

3. Another renovation was done at the turn-of-the-millennium. For further details on this, see Mayou (2000).

4. This is particularly clear in the ‘reducing natural risks’ subsection, in which the interactive game ‘hurricane’ (designed by the British Blast Theory group) dominates the exhibition. See Blast Theory (n.d.).

5. Elsewhere, I explore elsewhere how this interpellates the expectator’s senses with both visual and acoustic data (Quiroga-Villamarín 2023a, 2023b).

6. As I have argued elsewhere, this ought to be related to the institution’s desire to portray itself as a truly international institution – a challenge given its deep roots in a local tradition of Swiss humanitarianism. See Quiroga-Villamarín (2023a, 2023b).

7. Which, at least according to the traditional historiography, is seen as pivotal moment in the history of international humanitarian law. See Bugnion (2012), compare with Benvenisti and Lustig (2021).

8. See, for an introduction, Ramírez-Gutiérrez and Quiroga-Villamarín (2022).