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Forensis


2014, Mar 15, Sat — 2014, May 05, Mon

Forensis | Forensic Architecture in collaboration with SITU Research, GUATEMALA: OPERAĆION SOFÍA | The DNA-identification room at Clyde Snow Laboratory (“Laboratorio Clyde Snow”), Guatemala City, November 2011. | Photo: Paulo Tavares/Eyal Weizman

Forensis | Forensic Architecture in collaboration with SITU Research, GUATEMALA: OPERAĆION SOFÍA | The DNA-identification room at Clyde Snow Laboratory (“Laboratorio Clyde Snow”), Guatemala City, November 2011. | Photo: Paulo Tavares/Eyal Weizman

Forensis | Forensic Architecture and SITU Research, VIDEO-TO-SPACE ANALYSIS: BIL’IN | Image from the 3D virtual model reconstruction of the scene at the moment of the shooting of Bassem Abu Rahma | © Forensic Architecture and Situ Studio

Forensis | Forensic Architecture and SITU Research, VIDEO-TO-SPACE ANALYSIS: BIL’IN | Image from the 3D virtual model reconstruction of the scene at the moment of the shooting of Bassem Abu Rahma | © Forensic Architecture and Situ Studio

Forensis | Forensic Architecture in collaboration with SITU Research, DRONE STRIKES: UNMANNED AERIAL VIOLENCE | “The Architecture of Memory.” A drone survivor building a computer model of her home to enhance her memory in Mir Ali, North Waziristan, destroyed on October 4th 2010. | Visualization: © Forensic Architecture and SITU Research

Forensis | Forensic Architecture in collaboration with SITU Research, DRONE STRIKES: UNMANNED AERIAL VIOLENCE | “The Architecture of Memory.” A drone survivor building a computer model of her home to enhance her memory in Mir Ali, North Waziristan, destroyed on October 4th 2010. | Visualization: © Forensic Architecture and SITU Research

Forensis | Forensic Oceanography (Charles Heller, Lorenzo Pezzani, SITU Research), “LEFT-TO-DIE BOAT” | Synthetic aperture radar satellite imagery (A and B) showing the “left-to-die” boat’s drift trajectory | Photo: © Forensic Architecture and SITU Research

Forensis | Forensic Oceanography (Charles Heller, Lorenzo Pezzani, SITU Research), “LEFT-TO-DIE BOAT” | Synthetic aperture radar satellite imagery (A and B) showing the “left-to-die” boat’s drift trajectory | Photo: © Forensic Architecture and SITU Research

Forensis | Forensic Oceanography (Charles Heller, Lorenzo Pezzani, SITU Research), “LEFT-TO-DIE BOAT” | Interview with survivor Daniel Haile Gebre. Lorenzo Pezzani and Charles Heller, Milan, December 22, 2011, video still

Forensis | Forensic Oceanography (Charles Heller, Lorenzo Pezzani, SITU Research), “LEFT-TO-DIE BOAT” | Interview with survivor Daniel Haile Gebre. Lorenzo Pezzani and Charles Heller, Milan, December 22, 2011, video still

Forensis | The width of the line crossing the “Red Castle” in Battir | Photo: DAAR / Amina Bech

Forensis | The width of the line crossing the “Red Castle” in Battir | Photo: DAAR / Amina Bech

Forensis | Srdjan Jovanovic Weiss, AESTHETIC TARGETING: NATO AS ARCHITECTURAL CRITIC | NATO's precision bombing of Serbian radio and television (RTS) headquarters, Belgrade, April 1999 | Photo: Ben Davenport

Forensis | Srdjan Jovanovic Weiss, AESTHETIC TARGETING: NATO AS ARCHITECTURAL CRITIC | NATO's precision bombing of Serbian radio and television (RTS) headquarters, Belgrade, April 1999 | Photo: Ben Davenport

Forensis | Forensic Architecture, THE LANDSCAPE OF BATTIR VS. THE STATE OF ISRAEL | The presentation of the

Forensis | Forensic Architecture, THE LANDSCAPE OF BATTIR VS. THE STATE OF ISRAEL | The presentation of the "wall" in Battir before the Israeli High Court | Illustration: Samir Harb

Forensis | Model Court, TRANSMISSIONAL JUSTICE: RESOLUTION 978HD | Pretrial investigation | Photo: Thomas Elfgren

Forensis | Model Court, TRANSMISSIONAL JUSTICE: RESOLUTION 978HD | Pretrial investigation | Photo: Thomas Elfgren

Forensis | Gabriel Cuéllar / DAAR, RUINS UNDER CONSTRUCTION | The ruins of three houses, reconstructed with fragments from historical photographs | Visualization: Gabriel Cuéllar

Forensis | Gabriel Cuéllar / DAAR, RUINS UNDER CONSTRUCTION | The ruins of three houses, reconstructed with fragments from historical photographs | Visualization: Gabriel Cuéllar

From tracing fingerprints to tracking Internet activities, forensics is central to the ways by which states police and govern their subjects.
Through its media representations it has also become a defining feature of contemporary culture. Forensis seeks to invert the direction of the forensic gaze and designate the emergence of new aesthetic-political practices by which individuals and independent organisations use new technologies aesthetic practices, and architectural methodologies to bear upon a range of issues from political struggle to violent conflict and climate change.
The exhibition presents the work of the Forensic Architecture project at Goldsmiths, University of London. It includes the presentation of of forensic investigations — involving imaging processes, satellite images, 3D visualizations, models and videos — were mobilised as evidence on behalf of prosecution teams, civil society organizations, activists, human rights groups, and the United Nations. These contemporary forensic practices are situated within broader political, historical, and aesthetic contexts.
Forensis raises fundamental questions about the conditions under which spatial and material evidence is recorded and presented, and tests the potential of new types of evidence to expand our juridical imagination, open up forums for political dispute and practice, and articulate new claims for justice.

Curated by Anselm Franke and Eyal Weizman.

FORENSIS is a co-production by Haus der Kulturen der Welt, funded by the Capital Cultural Fund, and by Forensic Architecture, ERC-funded research project based at Goldsmiths, University of London.
http://www.forensic-architecture.org

In the framework of:

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