1. Erica Lehrer’s curating difficult knowledge make the invisible more visible knowledge which is taboo or less common in modern conversations is explored and expanded upon image of the Nazi regime forcing the German civilians to view their camps, there dug trenches and the bodies when the reluctant public are forced to confront and be aware of horrible realities an age saturated by media providing dairy events of death, suffering and horror ‘never again’ shift of focus memory-workers begin to explore other modes by using difficult knowledge, such as attempting to kindle social aspirations between others like empathy, identification, cross-cultural dialogues, to recognize multiple perspectives or to catalyse action

2. Reflection of different examples of knowledge to the mass power of public deployment of historical images were used to reshape public consciousness and were brought to others through the use of initiatives. May 1990 in Prague, they introduce a row of kiosks with images and documents of events of horror and sadness such as World War Two, the 1952 Slansky show trails and the 1968 Prague Spring, these difficult knowledge situations allowed the ability to unearth controversial conversations as the communities woke up, saw these kiosks and discussed their feelings and the implications of these events, these silence histories are resurfaced Polish exhibit in 1996, and I still see their faces, in which the images of the Polish Jews were presented, which included 9000 pre- Holocaust images and evoked very emotive responses from them and these photograph reinforce the image of remembering Latin America, particular the Southern Cone countries, they experimented with excavating their authoritarian past by showing photos to a predominately Peruvian audience of these ‘faces of suffering’ and showing the visible proof of the injustice this area had felt and about the decades of internal conflict

3. Curating difficult knowledge the unique characters that arise in attempts to frame memories and documents of violence for public display sites of memory spur dialogues in familiar form like contemplation and discussion; however memory and meanings are also made and contested through different acts such as commodification, graffiti and vandalism. perspectives of memory work allows the audience to ‘bear witness’ to past conflicts origin of Curating, in which curate means ‘to care for’ and these images of museum and exhibitions for emotive and difficult knowledge are caring and keeping the past contained within these objects and artefacts, however the notions of curation as ‘care’ is meant neither prescriptively nor timidly rather curation is used to draw attention to the profound sense of obligation that the author of work express to ‘deal’ with the past when it implies painfully upon the present. visiting sites of former atrocities raises concerns but also often draw people earnestly to seek mediation on peace and reflect how much change has happened from the painful aspect of the past to now

4. Disambiguating ‘difficulty’ of what kind of knowledge is defined as difficult Edward Linenthal - refers to use notion of the ‘comfortable horrible memories’ in which the ways that official narratives of tragedy may not do much beyond confirming what ‘we’ as a pre-determined collective already know, think or feel. Deborah Britzman makes a strong distinction between difficult knowledge and ‘lovely knowledge’: lovely knowledge - knowledge that reinforces the knowledge we already know and it allows us also to think for ourselves due to our identification with a particular group difficult knowledge - knowledge that does not fit, it breakdown our pre-determined experiences and forces us to confront the possibilities that the conditions of our lives and boundaries of our collective may be different from our normal images of it Roger Simon suggests a productive relationship with ‘difficulty’ based on a process of confronting and dismantling our expectations upon encountering unfamiliar knowledge.

5. Conclusion and Point of Audience Lehrer looks upon the notion that primarily the ‘audience’ of an emotive and difficult knowledge based presentation is what defines the success or failure of a curatorial project the demands for, in curatorial projects, to get involved with local people affect and experiences by the events such as survivors and community members.