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

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

Forensic Architecture: Hacia Una Estética Investigativa

Forensic Architecture: Towards an Investigative Aesthetics

Forensic Architecture: Hacia Una Estética Investigativa

Museo Universitario Arte Contemporáneo (MUAC)

Mexico City, 9 September – 30 December 2017

Images courtesy of MUAC. Photographer: Oliver Santana

This exhibition presents the work of the architects, artists, filmmakers, investigative journalists, and collaborators who make up the Forensic Architecture agency at Goldsmiths, University of London. Established in 2010, we use architecture as an investigative tool, primarily for the production and presentation of spatial evidence in the context of armed conflict and political struggles. Our evidence has been presented in international courts, truth commissions, human and environmental forums, and widely in the media. This exhibition arrives at a time of extreme escalation in the practice of state denial and propaganda. While exploring the development and transformation of the investigative practice that bears its name, the exhibition challenges us to consider how contemporary aesthetic practices and media technologies can be geared up to engage this reality of so-called post-truth.

The exhibition is organized into three parts. The first part opens the exhibition with Forensic Architecture’s investigation of the enforced disappearance of the 43 students from the Escuela Normal Raúl Isidro Burgos de Ayotzinapa, in Iguala, Guerrero, on 26–27 September 2014. Commissioned by the Argentine Forensic Anthropology Team (EAAF) and the Miguel Agustín Pro Juárez Human Rights Center (Centro Prodh), the investigation maps the different narratives of perpetrators and victims, as well as attempts at the interruption of violence in relation to one of the most tragic events in the recent Mexican history.

The second and third parts of the show feature a detailed elaboration of a selection of recent cases undertaken by Forensic Architecture and its collaborators and their research on the relation between human violence and the destruction of the environment. The perimeter wall, encircling the second and third parts of the exhibition, has been conceived of as an extended essay that unpacks the theoretical and historical framework developed by Forensic Architecture and the kind of methodological reflection on what a new investigative aesthetics demands of us today.

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

Exhibition Team

Director of Forensic Architecture:
Eyal Weizman

Rosario Guiraldes

Anselm Franke, Rosario Guiraldes, Christina Varvia, Eyal Weizman

Graphic Design:
Other Means

Exhibition Team:
Ariel Caine, Rosario Guiraldes, Samaneh Moafi, Hana Rizvanolli, Christina Varvia

Forensic Architecture Team

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


  • Lawrence Abu-Hamdan
  • Marim abu Mad’im
  • Nabil Ahmed
  • Salim al-Tūri
  • Giulia Bruno
  • Ariel Caine
  • Charles Heller & Lorenzo Pezzani
  • Hagit Kaisar
  • Thomas Keenan
  • Jan Kiesswetter
  • Giuseppe Lelasi
  • Armin Linke
  • Hannah Martin
  • Godofredo Pereira
  • Shela Sheikh
  • Alina Schmuch
  • Susan Schuppli
  • Paulo Tavares
  • Ines Weizman
  • Oren Ziv


  • A Satellite Studio
  • Activestills
  • Umar al-Ghubari / Zochrot
  • Aziz al-Turi
  • Sayakh
  • al-Turi / Al Araqib village
  • Nouri al-Uqbi
  • Amnesty International
  • B’Tselem
  • Eduardo L. Cadava
  • Edmund Clark
  • Chris Cobb-Smith
  • Mauricio Corbalan y Pio Torroja / m7red
  • DCI-Palestine
  • Debbie Farber
  • Baltasar Garzón and Manuel Vergaras / FIBGAR
  • Gaza’s Ministry of Public Works and Housing
  • Grupa Spomenik (Monument Group)
  • Haus Der Kulturen Der Welt (HKW)
  • Hagit Keysar / Public Lab
  • Kent Klich
  • Sabine Llewellyn
  • MA in Forensic Architecture / Goldsmiths, University of London
  • Médecins Sans Frontières (MSF)
  • Nuriya Oswald and Mohammed
  • Abdullah / Al Mezan
  • Rossana Padeletti
  • Princeton University
  • Public Minister of Brazil
  • Situ Research
  • Alice Ross
  • ScanLAB Projects
  • Emily Schaeffer / Michael Sfard Law Office
  • Andreas Schüller / European Center for Constitutional and Human Rights (ECCHR)
  • Jack Serle / The Bureau of Investigative Journalism (BIJ)
  • Michael Sfard
  • Ana Naomi de Sousa
  • Caroline Sturdy Colls
  • UN Special Rapporteur for Counter Terrorism (UNSRCT)
  • Jamon Van Den Hoek
  • Robert Jan van Pelt
  • Laure Vermeersch
  • Watch the Med
  • Chris Woods / Airwars
  • Khaled Abdulwahed
  • Cem Kayan
  • Vanina Vignal
  • Sebastian Bodirsky
  • Frank Bubenwer
  • Gozen Atila
  • Cordula Hamschmidt
  • Grant Waters / Anderson Acoustics
  • Salvador Navarro- Martinez / Imperial College
  • Natascha Sadr Haghighian
  • Fritz Laszlo Weber / Citizen Tribunal “Unravelling the NSU Complex”
  • Ayse Gulec / Documenta 14, Centro Prodh, EAAF


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


77sqm_9:26min at documenta 14


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)




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


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