Posts tagged with "Forensic Architecture":
Today (February 19th) I was meant to be here with you at the Museum of Art and Design in Miami to open Forensic Architecture’s first major survey exhibition in the United States, True to Scale.But on Wednesday, February 12th, two days before my scheduled flight to the U.S, I was informed in an email from the U.S. Embassy that my visa-waiver (ESTA) had been revoked and that I was not authorised to travel to the United States. The revocation notice stated no reason and the situation gave me no opportunity to appeal or to arrange for an alternative visa that would allow me be here.It was also a family trip. My wife Prof. Ines Weizman, who was scheduled to give talks in the U.S. herself, and our two children traveled a day before I was supposed to go. They were stopped at JFK airport in New York where Ines was separated from our children and interrogated by immigration officials for two and a half hours before being allowed entry.The following day I went to the U.S. Embassy in London to apply for a visa. In my interview the officer informed me that my authorization to travel had been revoked because the “algorithm” had identified a security threat. He said he did not know what had triggered the algorithm but suggested that it could be something I was involved in, people I am or was in contact with, places to which I had traveled (had I recently been in Syria, Iran, Iraq, Yemen, or Somalia or met their nationals?), hotels at which I stayed, or a certain pattern of relations among these things. I was asked to supply the Embassy with additional information, including fifteen years of travel history, in particular where I had gone and who had paid for it. The officer said that Homeland Security’s investigators could assess my case more promptly if I supplied the names of anyone in my network whom I believed might have triggered the algorithm. I declined to provide this information.This much we know: we are being electronically monitored for a set of connections—the network of associations, people, places, calls, and transactions—that make up our lives. Such network analysis poses many problems, some of which are well known. Working in human rights means being in contact with vulnerable communities, activists and experts, and being entrusted with sensitive information. These networks are the lifeline of any investigative work. I am alarmed that relations among our colleagues, stakeholders, and staff are being targeted by the U.S. government as security threats.This incident exemplifies—albeit in a far less intense manner and at a much less drastic scale—critical aspects of the “arbitrary logic of the border” that our exhibition seeks to expose. The racialized violations of the rights of migrants at the U.S. southern border are of course much more serious and brutal than the procedural difficulties a U.K. national may experience, and these migrants have very limited avenues for accountability when contesting the violence of the U.S. border.As I would have announced in today’s lecture, this exhibition is an occasion to launch a joint investigation with local groups into human rights violations in the Homestead detention center in Florida, not far from here, where migrant children have been held in what activists describe as “regimented, austere and inhumane conditions”.In our practice, exhibitions are treated as alternative forums for accountability, ways of informing the public about serious human rights violations. Importantly, they are also opportunities to share with local activists and community groups the methods and techniques we have assembled over years of work in the field.To that effect, this exhibition includes an investigation into a CIA drone strike in Pakistan that was presented by a UN Special Rapporteur in the General Assembly; an analysis of the Chicago police killing of a barber that lead to an investigation by the mayor and the city’s police department; and an inquiry into the Israeli bombing of Rafah in Gaza that informed the International Criminal Court’s recent decision to open an investigation into the possibility of Israeli war crimes in occupied Palestine—all alongside other investigations we have conducted with communities and human rights collaborators in Germany, Venezuela, the Mediterranean, and Syria.These works seek to demonstrate that we can invert the forensic gaze and turn it against the actors—police, militaries, secret services, border agencies—that usually seek to monopolise information. But in employing the counter-forensic gaze one is also exposed to higher level monitoring by the very state agencies investigated.I would like to thank all those who showed enormous commitment to make this exhibition possible, especially Sophie Landres, Francisco Canestri, Gladys Hernando, Nicole Martinez and Rina Carvajal from MOAD, members of Forensic Architecture here and there, friends who helped through this process, Ines for reading this statement, and you all for coming.Mostly though I would like to thank our partner communities who continue to resist violent state and corporate practices and who are increasingly exposed to the regime of “security algorithms”—a form of governance that aims to map, monitor, and—all too often—police their movements and their struggles for safety and justice.
AN talks to Eyal Weizman about tech in truth-telling ahead of Forensic Architecture’s first U.S. survey
“We care deeply about the Whitney. Over the years, many shows at the Museum have inspired and informed our art. We were angry when we learned of Kanders’s role as CEO of Safariland, a company that manufactures tear gas and other weapons of repression. At the time, we had already accepted your invitation to participate in the Whitney Biennial and were all well into fabrication of major pieces for this show. We found ourselves in a difficult position: withdraw in protest or stay and abide a conflicted conscience. We decided to participate.” “But the Museum’s continued failure to respond in any meaningful way to growing pressure from artists and activists has made our participation untenable. The Museum’s inertia has turned the screw, and we refuse further complicity with Kanders and his technologies of violence.”Among the eight artists to denounce the Biennale was the University of London-based research group Forensic Architecture, which uses architectural spatial analysis and forensic techniques to study human rights violations around the world. Hyperallergic reported that the studio and its partner Praxis Filmes has asked the Whitney to replace its 10-minute video Triple-Chaser, which traces the spread of tear gas and bullets through companies like Safariland, with a new film that shows incriminating evidence that Kanders is directly linked to a bullet company that’s been selling products to the Israeli Military Industry. The New York Times dually noted that Kanders’ supply of tear-gas grenades have been allegedly used during protests at not only the Israeli-Palestinian border in Gaza, but also at United States-Mexico border, in Ferguson, Missouri, and at the Standing Rock Indian Reservation, which straddles both North and South Dakota.
Forensic Architecture and its founder Eyal Weizman have not commented on the news yet, but Whitney director Adam D. Weinberg, released a statement on Friday saying the museum will follow through with the artists’ requests, according to the New York Times. “The Whitney respects the opinions of all the artists it exhibits and stands by their right to express themselves freely. While the Whitney is saddened by this decision, we will of course comply with the artists’ request.” It’s unclear exactly when the pieces will be removed from the exhibition, but it will likely happen quickly as the Biennale is set to close in two months. So far, work from the remaining 67 exhibitors will stay on view in the showcase through September 22. After this article was published Forensic Architecture released an official statement on its withdrawal writing: "As a result of our findings, and in solidarity with Palestinian resistance, Forensic Architecture and Praxis Films together believe our position within the Biennial is no longer tenable. We continue to demand that Kanders is removed from his position on the Whitney’s board of trustees."
Forensic Architecture Says It Has Found Bullet Linking Whitney Vice Chair to Violence in Gaza, Withdraws from Biennial https://t.co/12GWIy4J0k— 艾未未 Ai Weiwei (@aiww) July 21, 2019
In light of recent reporting by @hyperallergic & protests by @decolonize_this & others, our invitation to the 2019 #WhitneyBiennial has become a challenge which unites the political & cultural dimensions of our practice. We will respond through our contribution. https://t.co/1nNG9t4QaR— Forensic Architecture (@ForensicArchi) February 27, 2019
Grenfell Tower, a 24-story Brutalist building in North Kensington, was designed by Clifford Wearden and Associates and completed in the 1970s. Forensic Architecture is compiling the videos, determining the orientation of the (usually) smartphone-wielding videographer, and projecting them onto a 3-D model of the building. Would-be contributors can submit their footage, anonymously or not, here. The news comes on the heels of an announcement that London's Adjaye Associates, along with five other firms, have been selected to share ideas for the future of Lancaster West Estate, the municipal housing complex that hosted Grenfell Tower. If an architect is selected and everything goes according to plan, work on the project is slated to begin in 2019.
Today we are launching a long-term and open-ended project on the #Grenfell Tower fire. Support the project, learn more, and share with us your video footage at https://t.co/WFzcUA5gRZ pic.twitter.com/av3uBZsYAZ— ForensicArchitecture (@ForensicArchi) March 21, 2018