--- description: The 'Almost Dawn in Libya' project aims to show Libyans photographs taken during the civil war in their country and, in doing so, foster peace. title: The Gallery as Public Square: ‘Almost Dawn in Libya’ image: https://static.time.com/v3/assets/bltea6093859af6183b/blteea8bd60271a115a/69879d37524fc0f61fdee2b6/adil_004.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  * [World](/section/world/) ## World Update your preferences in [Account Settings](/account/preferences/) Close * [LightBox](/tag/time-section-lightbox/) ## LightBox Update your preferences in [Account Settings](/account/preferences/) Close # The Gallery as Public Square: 'Almost Dawn in Libya'  by [Lily Rothman](/author/lily-rothman/)  ## Lily Rothman Update your preferences in [Account Settings](/account/preferences/) Close Rothman is managing editor at TIME. Apr 12, 2012 6:00 PM CUT  March 5, 2011\. Opposition troops take positions as they push west outside of Ras Lanuf after taking the city back from troops loyal to Gaddafi in Ras Lanuf, in Eastern Libya. Dangerous confrontations have been going on between opposition forces and those loyal to Col. Gaddafi across Libya. March 5, 2011\. Opposition troops take positions as they push west outside of Ras Lanuf after taking the city back from troops loyal to Gaddafi in Ras Lanuf, in Eastern Libya. Dangerous confrontations have been going on between opposition forces and those loyal to Col. Gaddafi across Libya.Lynsey Addario—The New York Times/Redux  by [Lily Rothman](/author/lily-rothman/)  ## Lily Rothman Update your preferences in [Account Settings](/account/preferences/) Close Rothman is managing editor at TIME. Apr 12, 2012 6:00 PM CUT The photographer André Liohn, who got an early start on covering the civil war in Libya and stayed in the country through the killing of Muammar Gaddafi, was recently asked not to use that term—civil war—to describe the conflict. Liohn had returned to Libya to introduce a project that he started with seven other photographers who covered the war-torn African nation last year. They call the project _Almost Dawn in Libya,_ and through it they plan to exhibit their photographs of the war in the Libyan cities of Tripoli, Misurata, Benghazi and Zintan. But as Liohn was telling a young lawyer who had been active in promoting the revolution on the internet about their work, the photographer was confronted about his choice of words. He responded that what he had seen seemed to fit his own conception of a civil war, but she told him that, to her, the conflict didn’t fit that category. “That you can come to us and challenge this concept that we have of it—that’s exactly what the project is for,” Liohn says. The photographers behind _Almost Dawn in Libya_—also known as _ADIL_, an acronym that sounds like the Arabic word for justice—aim to use their work to help Libyans come to grips with what happened there in the past year, to turn galleries into spaces for public debate. They are not the first to think about what would happen if those who might appear in war photography got to see those pictures. Susan Sontag described in _On Photography_ the way that a photographer can seize control of a narrative and Susan Meiselas’ _In History_ examined the ethics of conflict photography in Central America in the 1970s and ‘80s. But, says Liohn, there’s a new factor in play these days. “The Libyan revolution or the Arab spring, it’s probably the first time where victims of a violence were able to document their own suffering. Mobile phones, videos, graphic design have been extremely important to unify people. They did it through images,” he says. “But today the images that they created have lost the context of the violence.” Liohn says that, without that context, the images that were once a rallying cry have become a source of fragmentation: each city has its own images of how brave its people were or how much they suffered. By showing the same exhibit of 100 pictures, not sorted geographically or chronologically, in four different places at the exact same time, the _ADIL_ team hopes that Libyans will be able to start a dialogue that is not divided by city. And Liohn says that, through _ADIL_, the photographers involved will cede their control of the images. “We are not showing it to a public that never saw Libya,” he says. “We are actually exposing ourselves to the public.” Part of the project involves bringing the photographers back to speak to that public and hold workshops, though, so Liohn says that hearing dissent about the way Libya is portrayed is part of the point. The larger point, however, is that the people who see the exhibits may then be inspired to discuss the country’s direction. “The people there are waking up from this kind of dream-nightmare situation,” says Liohn, “and no one actually knows how the day is going to be.” _Learn more about_ Almost Dawn in Libya_—and the photographers involved (André Liohn, Lynsey Addario, Eric Bouvet, Bryan Denton, Christopher Morris, Jehad Nga, Finbarr O’Reilly and Paolo Pellegrin) at their emphas.is fundraising page_ [_here_](http://www.emphas.is/web/guest/discoverprojects?projectID=545 "undefined")_._  March 5, 2011\. Opposition troops take positions as they push west outside of Ras Lanuf after taking the city back from troops loyal to Gaddafi in Ras Lanuf, in Eastern Libya. Dangerous confrontations have been going on between opposition forces and those loyal to Col. Gaddafi across Libya. Lynsey Addario—The New York Times/Redux  April 24, 2011\. Rebels preparing to invade a house occupied by government soldiers in downtown Misurata. André Liohn—Prospekt  April 24, 2011\. Rebels fighting against pro-government soldiers inside a building in downtown Misurata, on Tripoli Street. André Liohn—Prospekt  March 11, 2011\. Opposition troops burn tires to use as cover during heavy fighting, shelling and airstrikes near the main checkpoint near a refinery as rebel troops pull back from Ras Lanuf, in Eastern Libya. Lynsey Addario—The New York Times/Redux  April 29, 2011\. Smoke billows from a shoe factory on the frontline near the airport, with the bombed out remains of buildings on Tripoli Street in the foreground, in Misurata. Bryan Denton—The New York Times/Corbis  March 30, 2011\. Vehicles destroyed by Western air strikes lie along the coastal highway outside Ajdabiyah in eastern Libya. Finbarr O'Reilly—Reuters  March 19,2011\. Aisha Gaddafi, daughter of Muammar Gaddafi, shown here surrounded by loyalist supporters in her father's compound, the day the air war started. Christopher Morris—VII for TIME  July 5, 2011\. A young rebel sleeps with his sniper rifle at a makeshift rebel military facility in Kikla, in Libya's Western Nafusa mountains. Bryan Denton—The New York Times/Corbis  March 14, 2011\. A man performs his evening prayers next to a portrait of Libyan leader Muammar Gaddafi, in the lobby of a hotel in which a press conference by tribal leaders was taking place in Tripoli. Christopher Morris—VII for TIME  Aug. 23, 2011\. After six months the rebels reached Tripoli and succeeded in overrunning Bab al-Aziziya, the compound of embattled leader Gaddafi. Eric Bouvet  Aug. 23, 2011\. After six months the rebels reached Tripoli and succeeded in overrunning Bab al-Aziziya, the compound of embattled leader Gaddafi. Eric Bouvet  September 20, 2011\. Tawerga, Libya. 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