Beazley Designs of the Year

Beazley Designs of the Year 2018

The Design Museum

London, UK, 12 September 2018 – 06 January 2019

Now in its eleventh year, Beazley Designs of the Year is the Design Museum’s annual celebration of the most original and exciting products, concepts and designers in the world today. Explore how the future is fast becoming the present with newly-developed materials, innovative ways of managing scarce resources, playful designs for all ages and local communities claiming new spaces for themselves.

The international awards and exhibition showcase design projects from the previous 12 months, across six categories: Architecture, Digital, Fashion, Product, Graphics, and Transport. Design experts, practitioners and academics from across the world are asked by the Design Museum to suggest potential projects, from which the museum has selected 87 for nomination to display in the exhibition. A specially selected jury will choose a winner for each category and an overall winner – to be announced in November 2018.

For the 2018 edition, Forensic Architecture won the Design of the Year award for our investigation into chemical weapons attacks in Douma, Syria.

Installation photography © Felix Speller / The Design Museum


The Long Duration of a Split Second

The Long Duration of a Split Second

Turner Prize 2018, Tate Britain

London, UK, 25 September 2018 – 06 January 2019

The Turner Prize returns to Tate Britain for its 34th edition. The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury. One of the world’s best-known prizes for the visual arts, the Turner Prize aims to promote public debate around new developments in contemporary British art. Established in 1984, it is awarded to a British artist for an outstanding exhibition or other presentation of their work in the twelve months preceding 16 April 2018.

Tackling pressing issues in society today, the four shortlisted artists for the Turner Prize 2018: Forensic Architecture, Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson. An exhibition of work by the shortlisted artists will be staged at Tate Britain from 26 September 2018 to 6 January 2019. The winner, Charlotte Prodger, was announced in December at an awards ceremony live on the BBC, the broadcast partner for the Turner Prize.

Forensic Architecture was nominated for four exhibitions held across 2017 and 2018: Counter Investigations at the Institute of Contemporary Art; Hacia una estética investigativa/Towards an Investigative Aesthetics held at the Museo Universitario Arte Contemporáneo (MUAC) and Museu d’Art Contemporani de Barcelona (MACBA); and 77sqm_9:26min presented as part of documenta 14.

Installation photography © Matt Greenwood and Joe Humphrys, Tate Photography

Weil Ich Nun Mal Hier Lebe / Because I Live Here

Weil Ich Nun Mal Hier Lebe / Because I Live Here

TOWER MMK, Museum für Moderne Kunst

Frankfurt am Main, Germany, 27 October 2018 – 31 March 2019

Weil Ich Nun Mal Hier Lebe / Because I Live Here features eleven artists and artist groups who address themselves to the themes of institutional racism and structural violence in Germany. Their works critically intervene in stereotypical depictions and images that have solidified into clichés. In In-Formation (2005), for example, Harun Farocki offers ground-breaking criticism of the visual violence committed by the depiction of migration and immigration in statistics. The works assembled here create perspectives, imagery, and counter-narratives of their own, for instance when Azin Feizabadi superimposes the history of migration with the legend of the patron saint of Dortmund, when Želimir Žilnik portrays the residents of Metzstrasse 11 in Munich, or when the Frankfurt Sufferhead beer, newly brewed by Emeka Ogboh, links the German purity law (Reinheitsgebot) for beer with the existence of Black Germans. The artists record, supplement, and question the construct of a national homogeneity in which racist violence is present in all its forms. As documented in a work such as that by Hito Steyerl, the “normality” of everyday violence represents an attack on society as a whole — a society whose identity is the subject of Erik van Lieshout’s Rotterdam–Rostock (2006), in which he paints a picture of Germany in shades of reservation, forlornness, and social failure. Again and again, these artistic-documentary works adopt the viewpoints of persons who are subjected to racism, and whose knowledge and experiences are often excluded from the discourses conducted within government authorities and the media.

As part of this exhibition, Forensic Architecture presented our counter-investigation into the testimony of Andres Temme, in relation to the murder of Halit Yozgat in Kassel, 6 April 2006.

Im Zweifel für den Zweifel: Die große Weltverschwörung (Conspiracy Theories)

Im Zweifel für den Zweifel: Die große Weltverschwörung (Conspiracy Theories)


Düsseldorf, Germany, 21 September – 18 November 2018

Conspiracy theories, fake news and alternative facts are in great supply in times of upheaval, because times of crisis are times of conspiracy. From September 21 to November 18, 2018, the NRW-Forum Düsseldorf presents “Im Zweifel für den Zweifel: Die große Weltverschwörung”, an international group exhibition that reveals the power of conspiratorial narratives and encourages critical doubt.

The attacks of September 11, 2001 in New York or the assassination of American President John F. Kennedy in 1963 are probably the focus of the most prominent conspiracy theories today. The struggle for the truth(s) did not just begin with the “postfactual age” and Donald Trump’s “alternative facts”. In times of increasing digitalization and virtualization, however, uncertainty and the willingness to believe conspiratorial ideas seem greater than ever before. Who can we still believe? Do images and the media lie? Doubt is growing, nourished by the Internet, where conspiracy theorists of all kinds operate in the shadows.

The international group exhibition “Im Zweifel für den Zweifel: Die große Weltverschwörung” examines the power of conspiracy theories and counters them with the visibility of doubt and the possibility of critical doubt. A fake star, surveillance technologies, falsified photographs and forensic research – in the exhibition visitors have to orientate themselves in disturbing situations and ambiguous states.The exhibition reveals largely hidden doubts that are at play in every conspiracy theory and unveils society’s subconscious. The artists weave a web of fears, dreams, contradictions, doubts and nonsense, showing how feelings of unease can be created, but also offering ways to see through them. Visitors embark on an associative journey through miniature lifeworlds, installations, photomontages, sculptures, and digital architecture with historical and contemporary references, full of diffuse moods and sophisticated analysis. Doubts and fears are pointed out so they can be addressed. The goal is critical doubt, even about itself.

As part of this exhibition, Forensic Architecture presented 77sqm_9:26min, a counter-investigation into the testimony of Andres Temme in relation to the murder of Halit Yozgat in Kassel, 6 April 2006.

Also featuring: Julius von Bismarck, Richard Wilhelmer & Benjamin Maus, DisnovationÓlafur Elíasson, Juliane HerrmannIocoseFelix Kubin, Olaf Metzel, Tony Oursler, Trevor PaglenMichael Schirner, Andreas Slominski, Suzanne Treister, Holger Wüst

Installation photography © NRW-Forum Düsseldorf, Photo: B. Babic

Forensic Justice

Forensic Justice

BAK, basis voor actuele kunst

Utrecht, 18 October 2018 – 27 January 2019

From October 18, 2018 until January 27, 2019, BAK, basis voor actuele kunst in Utrecht presents Forensic Justice, an exhibition and a series of public programs with Forensic Architecture.

Forensic Architecture, a London-based independent and interdisciplinary research agency comprised of, among others, artists, scientists, lawyers, filmmakers, and architects uses novel research and aesthetico-political practice to investigate abuses of human rights and, more broadly, the rights of nature. They provide critical evidence for international courts and work with a wide range of citizen-led activist groups, NGOs, Amnesty International, and the United Nations, as well as with art institutions as significant public forums for distributing the investigations.

The exhibition Forensic Justice features a number of tactical forensic reclamations of social and ecological justice. Articulating evidence-based counter-narratives to dominant interpretations of investigated events, the installations mobilize what Forensic Architecture refers to as “public truth”. These mobilizations, as the exhibition proposes, can be understood as critical instances of “forensic justice”.

The exhibition involves two main narratives, entwining the 20th century horrors of genocide with its contemporary extension into environmental catastrophes.

Accompanying the exhibition, BAK will be hosting a public programme, Propositions #7: Evidentiary Methods, to examine and expand upon the notions of “evidence” and “method” in the practice of Forensic Architecture. The programme will be formed of a series of lectures, screenings, and workshops, co-curated by Nick Axel (architectural theorist and researcher, Amsterdam). Please visit the Propositions #7 website for more information.

The project is part of the BAK research series Propositions for Non-Fascist Living (2017–2020).

BAK’s main partner in the field of education and research is HKU University of the Arts Utrecht, Utrecht.

BAK’s activities have been made possible by the Dutch Ministry of Education, Culture, and Science and the City Council, Utrecht.

Installation photography © Tom Janssen / BAK, basis voor actuele kunst, Utrecht

Forensic Architecture Exhibition Team

Eyal Weizman

Christina Varvia

Sarah Nankivell

Samaneh Moafi

Simone Rowat

London Design Bienniale

London Design Biennale

Somerset House

London, 4 – 23 September 2018

On 4 September 2018, the Victoria and Albert Museum, Forensic Architecture (Goldsmiths, University of London), and Yazda: Global Yazidi Organization open the exhibition “Maps of Defiance: Documenting  the Genocide  of  the Yazidi  People in Northern Iraq”, representing the UK at the London Design Biennale 2018.

Maps of Defiance is the first stage of a collaborative project in which researchers from Yazda, based in Northern Iraq, are trained in Forensic Architecture’s visual and spatial documentation methods. The aim of this project is to gather evidence for potential future legal processes in which charges could be brought against members of ISIL (also known as the Islamic State, ISIS, or Da’esh) for the 2014 genocide, including extensive destruction of cultural heritage perpetrated against the Yazidi people of the Sinjar area.

This stage of the project addresses the systematic destruction of heritage, focusing specifically on eight temples and mausoleums that were destroyed as part of the genocide against the Yazidis.

This exhibition presents the training process undertaken in Turkey, and the field work undertaken in Northern Iraq. Evidence for this destruction lies in areas still scattered with booby traps and landmines, necessitating a form of ‘documentation at a distance’ that relies on an aerial survey conducted using drones, and cameras attached to kites.

This effort to preserve evidence—an emergency archaeology of the present — demonstrates the role that contemporary design techniques and technologies can play in assisting communities who have recently experienced trauma and loss.

Installation photography © Peter Kelleher/Victoria and Albert Museum, 2018

Exhibition Team

Eyal Weizman (Principal Investigator)

Ariel Caine (Project Co-ordinator)

Tané Kinch

Michael Zalta

José Antonio González Zarandona

Chloe Thorne

Nicholas Masterton

Lachlan Kermode

Franc Camps-Febrer

Samaneh Moafi

Bob Trafford

Stefanos Levidis

Christina Varvia

Grace Quah

Sarah Nankivell

Avi Mograbi (Film and Script Advisor)

Anika Sierk (Psychologist)


Jens Robert Janke 
Guley Bor
Faris Mishko Faris
Ronak Alyas
Farhan Dakheel Haje
Marwan Dawod Tamo
Zaid Salim Hassa

Victoria & Albert Museum
Natalie Kane
Brendan Cormier
Esme Hawes


Arts Council England
Victoria & Albert Museum


Report: Notes from Reality

Report: Notes from Reality

European Media Arts Festival

Osnabrück, 18 April – 7 July 2018

Artistic reports and images open up new confrontations with reality and holds the potential to take over, transform or even refute journalistic forms. The European Media Arts Festival’s 2018 theme, “Report – Notes from Reality” deals with artists’ growing interest in documentary and journalistic working styles which provokes questions: How do artists conduct their research? What new perspectives emerge when world events are viewed from an artistic perspective? How can we “really” tell about reality? And how can media art intervene in the event of political crises?

The main exhibition in Kunsthalle, Osnabrück, featured Forensic Architecture’s Air Strike Atimah documentary and the corresponding Bomb Cloud Atlas series.

Images: Installation at the 31st European Media Arts Festival, Osnabruck, 2018. Photo: Angela von Brill & Franz Reimer 

Counter Investigations

Counter Investigations: Forensic Architecture

The Institute of Contemporary Arts (ICA)

London, 7 March – 13 May 2018

Counter Investigations is a survey exhibition of the work of Forensic Architecture.

‘Forensic Architecture’ is not only the name of the agency but a form of investigative practice that traverses architectural, journalistic, legal and political fields, and moves from theoretical examination to practical application.

The work of Forensic Architecture has responded to the widespread increase in availability of digital recording equipment, satellite imaging and remote sensing technology, alongside platforms for data sharing. While such developments have contributed to the complexity of forms of conflict and control, they have also enabled new means of monitoring. Grounded in the use of architecture as an ‘analytic device’, Forensic Architecture’s investigations employ spatial and material analysis, mapping and reconstruction, and extend outwards to overlay elements of witness testimony and the cumulative forms of visual documentation enabled by contemporary media.

Counter Investigations presents a selection of recent and new investigations by Forensic Architecture. These address cases including the racist murder of a man in Kassel, Germany by a member of a far-right group, and instances of deferred responsibility by state agencies that have contributed to the deaths of migrants at sea in the Mediterranean. As historically contextualised interrogations of contemporary social and political processes, these investigations put forward a form of ‘counter-forensics’. They serve as sites for the pursuit of public accountability through scientific and aesthetic means, in opposition to the monopolisation of narratives around events by state agencies.

The individual investigations presented function as anchors for public events, workshops and discussions, with the exhibition as the physical infrastructure for the curriculum of a short course in forensic architecture.

Supported by The Forensic Architecture Exhibition Supporters Circle and the Graham Foundation for Advanced Studies in the Fine Arts

Installation photography © Mark Blower

Exhibition Team

Director of Forensic Architecture:
Eyal Weizman

Researcher in Charge:
Christina Varvia

Richard Birkett

Forensic Architecture Exhibition Team:
Ariel Caine
Franc Camps Febrer
Stefan Laxness
Stefanos Levidis
Nicholas Masterton
Samaneh Moafi
Sarah Nankivell
Elena Paca
Robert Preuss
Grace Quah
Theo Resnikoff
Simone Rowat
Nathan Su
Bob Trafford
William Winfield

Exhibition Graphics together with:
Wayne Daly & Claire Lyon, Matthew Chrislip


Forensic Architecture: Counter Investigations @ ICA | The White Pube, 22-29 April 2018

Forensics helps widen architecture’s mission | New York Times, 6 April 2018

Forensic Architecture | The World Today with Tariq Ali, 6 April 2018

The whole truth and nothing but the truth | Elephant Magazine, 14 March 2018

Architecture helps hold the guilty to account | RIBA Journal, 13 March 2018

In the aftermath of violence, Forensic Architecture reconstructs the truth | Metropolis, 8 March 2018

Buildings that can turn detective in uncovering the truth | Evening Standard, 7 March 2018

Forensic Architecture – from rubble and ruins to justice | Financial Times, 6 March 2018

Forensic Architecture: where art meets activism | BBC Newsnight, 6 March 2018

A forensic examination | Goldsmiths News, 6 March 2018

Challenging Fake News with Aesthetics | GARAGE Magazine, 26 February 2018

Architecture as forensic evidence in global crimes against humanity | Archinect, 26 February 2018

Forensic Architecture: The detail behind the devilry | The Guardian, 25 February 2018

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