Beautiful New Worlds

Beautiful New Worlds:

Virtual realities in contemporary art

Zeppelin Museum, Friedrichshafen, Germany

11 November 2017 – 8 April 2018

The exhibition addresses the recent developments in image technology and explores how they create a new entanglement of virtual and real spaces. A particular emphasis is placed on the socio-political dimension of virtual technologies. In a tension between illusion and critical distance, different positions examine their application highlighted in forensics, the porn industry, and modern warfare, for control over virtual space is also always connected to the control over real space. Virtuality and reality are thus tightly interwoven with one another.

The exhibition herein reflects different varieties of virtuality. Together with Berlin’s Kooperative für Darstellungspolitik, an exhibition circuit has been developed that makes the entanglement of virtual and real spaces perceptible for the audience through bodily experience. The scope of virtuality herein encompasses simulations, in which the real world environment is being reproduced artificially, 3D videos and virtual reality spaces that create an all‐encompassing pictorial illusory space.

Included in this exhibition was Forensic Architecture’s Saydnaya project.

Installation view: Beautiful New Worlds, Zeppelin Museum Friedrichshafen, 2017 © Zeppelin Museum, Photo: Tretter

Affect Me

Affect Me: Social Media Images in Art

KAI 10 | Arthena Foundation, Düsseldorf, 11 November 2017 – 10 March 2018

Affect Me: Social Media Images in Art presents works from nine international artistic positions that refer to the new phenomena of social media imagery and select particular pictorial material that draws its energy from the context of global political conflicts and civil-social protest on the net. Their work reflects the usage and the semantics of these images as well as considering their aesthetic qualities. Sometimes, they allow us to delve deep into the places and events of our world in upheaval. Sometimes, the artists take a more distanced view. They elucidate the mobilising power of the images and demonstrate how these images create facts and thereby operate along the porous border between reality and fiction.

Included in this exhibition was Forensic Architecture’s Air Strike Atimah project and the corresponding work from our Bomb Cloud Atlas series.

This exhibition is a cooperation of KAI 10 | Arthena  Foundation, Düsseldorf and the Collaborative Research Center 1171 Affective Societies at Freie Universität Berlin.

Installation views: Affect Me: Social Media Images in Art – KAI 10 | Arthena Foundation 2017 – Photo © Alexandra Höner

Fruit of Sleep

Fruit of Sleep

Sharjah Biennial 13 Tamawuj: Act II

Beirut, 14 October – 31 December 2017

 

Act II is the concluding exhibitions and performance programme of Sharjah Biennial 13. In this final chapter of the Biennial, curator Reem Fadda takes the idea of dormancy, from sleep to digestion, and looks at an embodied experience in the evolution of a language of art that beckons for more. In her exhibition Fruit of Sleep, artists delve into the imaginative, harnessing the aesthetic, not neglecting the contemplative, but also using their art to respond to the urgencies and needs of the social.

Forensic Architecture loaned our Ground Truth project as part of this exhibition.

Other participants: Tamara Barrage, Ali Cherri, Khalil El Ghrib, Haitham Ennasr, Rami Farook, Claire Fontaine, Sandi Hilal & Alessandro Petti, Emily Jacir, Tushar Joag, Dina Khouri, Los Carpinteros, Sigil, Praneet Soi, SUPERFLEX and Young-Hae Chang Heavy Industries.

Images of the exhibition courtesy of Ashkal Alwan, photography by Marco Pinarelli and Marwan Tahtah

Change the System

Change the System

Museum Boijmans van Beuningen, Rotterdam, 14 October 2017 – 14 January 2018

In the design world, there is a growing focus on issues related to scarcity, sustainability of the ecosystem, conflict and social inequality. Today’s designers visualise the changes, generate insight into situations, develop new concepts and analyze them critically. This exhibition is about the power of creative minds to drive change, which is needed more than ever to tackle global issues and threats. Showcasing more than 50 designers, Change the System addresses three significant subjects that are putting our liveable society under pressure: scarcity, conflict and harmony.

Forensic Architecture exhibited our Rafah: Black Friday project as part of this exhibition.

 

Resisting Images

Resisting Images: How to resist, with and against, images?

Biennale für aktuelle Fotografie 2017: Farewell Photography

Heidelberg, 9 September – 5 November 2017

Resisting Images explores the contentious presence of the photographic image within the political sphere. As the title of this section suggests, images can serve both as a means of resistance and a mode of control to resist against. Photographs can elicit sympathy and indignation and stir into action and revolt, but they can also affirm prejudice and render viewers immutable, distant and passive. The artworks and artefacts in the exhibition address this tension, questioning prevalent forms of political representation and articulating modes of opposition, with and against images.

Forensic Architecture exhibited our MSF-Supported Hospital project as part of this exhibition.

Curated by Boaz Levin

Other participants: Willem de Rooij, Richard Frater, LaToya Ruby Frazier, John Heartfield, Nikita Kadan, Merle Kröger und Philip Scheffner, Fred Lonidier, Naeem Mohaiemen, belit sag, D.H. Saur, Mark Soo, Klaus Staek, Oraib Toukan

Photo © Andreas Langfeld

In the Vestibule with Forensic Architecture

In the Vestibule with Forensic Architecture

Leonard & Bina Ellen Art Gallery, Concordia University

Montreal, 19 June – 11 August 2017

Curated by Michèle Thériault

Two Forensic Architecture investigations, Nakba Day Killings and The Left-to-Die Boat Case, are exhibited as part of the In the Vestibule series.

“The strategies and practices of Forensic Architecture do indeed record facts and frame them with the greatest precision through the analysis they are subjected to, but they are everything but ‘dry’ because of their embeddedness in the political terrain in which they are located and the difficulty to bring them to the surface. The fragile nature of their status and their conditionality communicate the complicated relationship between fact and truth. This complication brings the viewer/reader of FA’s investigations into the larger arena of the social and political relations of power, a highly unstable field. Moreover, affect plays an important role in their particular construction of the documentary, for as Weizman underlines, the desire to transform the way things are is at the heart of their project and this drive for change is not only achieved by exploiting material sensitivity but by a sensitivity to the materiality of politics and the ability to feel pain.”

From States of the Cause, an essay by the exhibition’s curator, Michèle Thériault.

Photos: Paul Litherland / Studio Lux. Courtesy of the Leonard & Bina Ellen Art Gallery, Concordia University, Montreal, Canada

Contributors

  • Eyal Weizman
  • Christina Varvia
  • Sarah Nankivell
  • Charles Heller
  • Lorenzo Pezzani
  • Nick Axel
  • Steffen Kraemer
  • Lawrence Abu Hamdan
  • Jacob Burns
  • SITU Research
  • DCI-Palestine

77sqm_9:26min at documenta 14

77sqm_9:26min

documenta 14

Kassel, 10 June – 19 September 2017

The Parliament of Bodies, the Public Program of documenta 14, emerged from the experience of the so-called long summer of migration in Europe, which revealed the simultaneous failure not only of modern representative democratic institutions but also of ethical practices of hospitality.

As part of this program, The Society of Friends of Halit presented documentation of their investigation, research, and activism into the murder of twenty-one-year-old Halit Yozgat on 6 April 2006 in a family-operated internet cafe in Kassel, Germany. Halit became the ninth victim in a string of racially motivated murders of immigrants conducted by the Nationalsozialistischer Untergrund (NSU, or National Socialist Underground). A Hessian secret service agent, Andreas Temme, was present during Halit’s murder but claimed that he neither heard the gunshots, noticed the sharp smell of gunpowder, nor saw Halit’s body behind the counter when he left. The Society of Friends of Halit situated the shots that killed Halit Yozgat within a long history of racist violence that is deeply rooted in German society. We used the term “NSU Complex” to describe this combination of neo-Nazi terror and institutional and structural racism.

The Society hosted a series of presentations and discussions during documenta 14 in Kassel specifically addressing the killing of Halit Yozgat and the presence of secret service agent Andreas Temme at the scene and time of the murder. The installation includes the three-channel video 77sqm_9:26min  and accompanying written report by Forensic Architecture at the Neue Neue Galerie (Neue Hauptpost).

Images of the exhibition © Mathias Voelzke

Forensic Architecture team

  • Eyal Weizman (Principal Investigator)
  • Christina Varvia  (Project & Research Coordinator)
  • Stefanos Levidis
  • Omar Ferwati
  • Simone Rowat
  • Nicholas Masterton
  • Yamen Albadin
  • Ortrun Bargholz
  • Eeva Sarlin
  • Franc Camps-Febrer
  • Hana Rizvanolli
  • Sarah Nankivell
  • Chris Cobb Smith (Advisor)
  • Lawrence abu Hamdan (Advisor)

Collaborators

SITUATIONS / Fact

SITUATIONS / Fact

SITUATION #82: Bomb Cloud Atlas

Fotomuseum Winterthur

Winterthur, 20 May – 17 September 2017

As the digital photographic document becomes instantly distributed and connected through online networks, big clusters of images from different sources can be merged to create a new notion of visual evidence that goes beyond the frames of individual pictures. From citizens sharing their photos on Twitter to journalistic reports and state media, all of this data can be collected and analysed – a collection of fragments that together forms a new image-space of an event. In Bomb Cloud Atlas, collected data from different moments of the conflict in Syria from 2015, like the bombings of the MSF Hospital in Ma’arat al-Numan, is used to create 3D printed models of the events. Next to the 3D reconstructions, the cluster will also feature a video that provides insight into the process behind Forensic Architecture’s work.

This display is part of the SITUATIONS series at the Fotomuseum Winterthur, which is an exhibition format developed to react more quickly to developments within photographic culture. The role of SITUATIONS is to define Fotomuseum Winterthur’s vision of what photography is becoming, at the same time offering an innovative integration of physical exhibition space and virtual forum. Using tags and clusters as a mode of curatorial classification the aim is to integrate the real and the virtual in relation to exhibition in a new way.

Kindly supported by Art Mentor Foundation Lucerne.

Photos: Forensic Architecture, Bomb Cloud Atlas, 2016, SITUATION#82, SITUATIONS/Fact, installation view at Fotomuseum Winterthur, 2017 © Philipp Ottendörfer

Contributors

  • Eyal Weizman
  • Christina Varvia
  • Stefan Laxness
  • Sarah Nankivell
  • Ming Lin
  • Laurie Robins
  • A Satellite Studio
  • Alma Weizman
  • Hannah Weizman

Forensic Architecture: Towards an Investigative Aesthetics

Forensic Architecture: Towards an Investigative Aesthetics

MACBA (Museu d’Art Contemporani de Barcelona)

Barcelona, 28 April – 15 October 2017

This exhibition presents the work of the architects, artists, filmmakers and investigative journalists who make up the Forensic Architecture agency at the Centre for Research Architecture at Goldsmiths, University of London, as well as that of its collaborators and guests. Established in 2010, Forensic Architecture uses architectural analysis, models and animations as investigative tools, primarily for the production and presentation of spatial evidence in the context of armed conflict and political struggles. This evidence is presented in political and legal contexts, including international courts, truth commissions, and human and environmental forums.

Both ‘forensics’ and ‘architecture’ refer to well-established disciplinary frames. Brought together, they shift each other’s meaning, giving rise to a different mode of practice. While architecture adds an essential method of investigation, forensics demands that architects pay the closest attention to the materiality of the built environment and its media representation.

This exhibition spans part of the museum’s second floor. The one-hundred-metre-long back wall, traversing the entire exhibition across three galleries, has been conceived of as an extended essay that echoes the investigations included in the galleries, presenting the kind of theoretical and methodological reflection that contemporary investigative aesthetics demands today. The investigations are arranged according to scale, beginning with the human body and moving through rooms, buildings and cities to territories and oceans, from micro-analysis to the scale of the planet – the ultimate forensic object, which human-induced climate change has transformed into both a construction site and a ruin.

While exploring the development and transformation of the investigative practice that bears its name, the exhibition challenges us to consider how contemporary artistic practices and media technologies can be geared up to engage this reality of post-truth.

Exhibition co-produced by MACBA Museu d’Art Contemporani de Barcelona and MUAC, Museo Universitario Arte Contemporáneo, Mexico City.

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Images: Forensic Architecture: Towards an Investigative Aesthetics, 2017, exhibition view © Miquel Coll

Exhibition Team

Director of Forensic Architecture:
Eyal Weizman

Curator:
Rosario Güiraldes

Conceptualisation:
Eyal Weizman, Rosario Güiraldes, Anselm Franke, and Christina Varvia

Graphic Design:
Other Means


Forensic Architecture Team

  • Eyal Weizman (Director)
  • Christina Varvia (Research Coordinator)
  • Susan Schuppli (Research Coordinator)
  • Francesco Sebregondi (Research Coordinator)
  • Samaneh Moafi
  • Stefan Laxness
  • Hana Rizvanolli
  • Nick Axel
  • Jacob Burns
  • Steffen Krämer
  • Ana Naomi de Sousa
  • Ariel Caine
  • Reiner Beelitz
  • Samir Harb
  • Zahra Hussain
  • Blake Fisher
  • Shourideh C. Molavi
  • Gustav A. Toftgaard
  • Camila E. Sotomayor
  • Vere Van Gool
  • Dorette Panagiotopoulou
  • Rosario Güiraldes
  • Hania Halabi
  • Pierre-Francois Gerard
  • Nestor Rubio
  • Simone Rowat
  • George Clipp
  • Yamen Albadin
  • Stefanos Levidis
  • Omar Ferwati
  • Nichola Czyz
  • Jason Men
  • Andrea Rota
  • Franc Camps-Febrer
  • Nicholas Masterton
  • Srdjan Jovanovic Weiss
  • Sarah Nankivell

Further Works By

  • Susan Schuppli
  • Lawrence abu Hamdan
  • Paulo Tavares
  • Charles Heller and Lorenzo Pezzani
  • Hannah Martin
  • Hagit Kaisar
  • Ariel Caine
  • Nabil Ahmed
  • Harun Farocki
  • Giulia Bruno
  • Jan Kiesswetter
  • Giuseppe Lelasi
  • Armin Linke
  • Alina Schmuch
  • Thomas Keenan
  • Ines Weizman
  • Shela Sheikh
  • Marim abu Mad’im
  • Salim al-Tu¯ri
  • Oren Ziv
  • Gilles Peress
  • Richard Helmer
  • Yve Alain Bois
  • Godofredo Pereira

Collaborators

  • Jamon Van Den Hoek
  • Kent Klich
  • Rossana Padeletti
  • Sabine Llewellyn
  • Laure Vermeersch
  • Ana Naomi de Sousa
  • Eduardo L. Cadava
  • Chris Cobb-Smith
  • Situ Research
  • Amnesty International
  • Princeton University
  • MA in Forensic Architecture / Goldsmiths, University of London
  • Caroline Sturdy Colls
  • A Satellite Studio
  • Grupa Spomenik (Monument Group)
  • Xavante community of Wederã (Pimentel Barbosa)
  • Francisco Caminati and Wederã Media Lab
  • Debbie Farber
  • Umar al-Ghubari / Zochrot
  • Nouri al-Uqbi
  • Aziz al-Turi
  • Sayakh al-Turi / Al Araqib village
  • Hagit Keysar / Public Lab
  • Activestills
  • Chris Woods / Airwars
  • Nuriya Oswald and Mohammed Abdullah / Al Mezan
  • B’Tselem
  • Alice Ross
  • Jack Serle / Bureau of Investigative Journalism (BIJ)
  • Edmund Clark
  • Andreas Schüller / European Center for Constitutional and Human Rights (ECCHR)
  • Michael Sfard
  • Emily Schaeffer / Michael Sfard Law Office
  • Mauricio Corbalan and Pio Torroja / M7red
  • Baltasar Garzon and Manuel Vergaras / FIBAR
  • Watch the Med
  • Doctors without Borders (MSF)
  • UN Special Rapporteur for Counter Terrorism (UNSRCT)
  • Haus Der Kulturen Der Welt (HKW)
  • ScanLAB Projects
  • Gaza’s Ministry of Public Works and Housing
  • DCI-Palestine
  • Robert Jan van Pelt

Funders

  • European Research Council (ERC)
  • Sigrid Rausing Trust
  • Centre for Research Architecture
  • Department of Visual Cultures, Goldsmiths, University of London

 

The Data Battlefield

The Data Battlefield

Fotomuseum (FOMU)

Antwerp, 27 April – 4 June 2017

The international group exhibition The Data Battlefield presents current artistic positions that engage with society’s increasing desire to capture and disseminate images of conflict – nowadays a common phenomenon due to 24-hour repetitive news broadcasts and social media. Sites of dispute and conflict are no longer censored in any form but rather made into media spectacles. How, then, can we describe traumatic events or classified sites without veering into sensationalism? How do we provide information without succumbing to over-hyped curiosity or ‘conflict porn’?

The Data Battlefield shows how four international lens-based artists engage with the various meanings of the word ‘document’ and create new visual ways through a documentary field marked by the disappearance of its traditional models of representation. Through some of the latest technology, DAVID BIRKIN (UK, 1977), HARUN FAROCKI (DE, 1944-2014), FORENSIC ARCHITECTURE and STEFFI KLENZ (DE, 1979) each open up unique conversations about the contemporary socio-digital conditions of our current photographic and filmic culture in relation to environments of conflict and dispute.

The Braakland Museum Takeover is running for seven months, transforming the top floor of FOMU into an experimental workspace for photography with the diversity of the photographic medium as the prime objective.