Acting Director & Senior Lecturer in the Centre for Research Architecture
+44 (0)20 +44 (0)20 7717 2572
I studied visual art and media and began my art practice producing multi-sited public projects and urban interventions. I also worked actively as a curator and cultural producer within the context of artist-run centres in Canada and the US. My current scholarly and creative practice is focused on the evidential dimensions of media materials that emerge out of sites of political violence and conflict, for example from the Balkans wars of the 1990s to the final days of the civil war in Sri Lanka in 2009.
From 2011-13 I was Senior Research Fellow and Project Cooridinator of, ERC funded project: Forensic Architecture, Centre for Research Architecture . In September 2013 I assumed the position of Acting Director of the Centre of Research Architecture..
PhD Cultural Studies & Research Architecture (Goldsmiths, University of London) 2009
Whitney Independent Study Program 1996
MFA Visual Art (University of California San Diego) 1995
BA Fine & Performing Arts (Simon Fraser University) 1991
Confltcs & Negotiations, CRA 2013-14, 2014-15
Studio Seminar (co-teach), CRA 2013-14
CRA PhD Seminar 2014-15
Questioning Practices Combined PhD Seminar with CRA & Fine Art, 2014-15
I welcome research proposals that sitaute themselves at the intersections between space, politics, aesethetics, and media. I surpervise dissertations that are rigorously theoretical yet pursue their research inquires through practical enagements with materials, sites and processes. Whether these are creative projects or emerge out of ethnographic fiedlwork they are understood to be the means by which research is pursued and ideas tested.
Of particular interest are projects that examine architetures of media in recognition of the increasing significance that media plays in our access to and analysis of spaces of political conflict. From the micro-scale of buildings and infrastructure to the macro-scale of borders and global flows, space is understood as an elastic medium constantly reshaped by political and mediatic forces.
I have recently or am currently supervising PhD dissertations on the Architecture of Balkanisation, War Hotels, Extraterritoriality & State Protected Images, Remote Sensing, Cloud Space, Video Philiosophy, Images of Risk, Outlawed Nature amongst others.
Perpetual Uncertainty, Bildmuseet, Umea, Sweden (2016)
Irish Film Institute/Project Arts Centre, Dublin (April 2015)
Jupiter Woods, London, UK (2015)
Spring Exhibition, Charlottenborg, Denmark, (2015)
10th Shanghai Biennale, China (November 2014)
Evidence on Trial, See you in The Hague, Stroom Den Haag, NL (October 2014)
Allegory of the Cave Painting, Extra City, Antwerp (September 2014)
Wind Tunnel Project Artliner, UK, (Performative Lecture July 2014)
Hlysnan: On the Notion & Politics of Listening, Casino Luxembourg (May 2014)
Forensis, Haus Der Kulturen der Welt, Berlin, (March 2014)
Animism, Ilmin Museum of Art, Seoul Korea (December 2013)
No One Belongs Here More than You, 54th October Salon, Belgrade (2013)
Transmediale, Evil Media contribution, Berlin (2013)
Front by Front: Conflict & the Legacy of War, Museum London, London, ON (2011)
Domestic Lives: Works from the Permanent Collection, Surrey Art Gallery, BC, Canada (2011)
Krimiseries: Evidence, Narrative and the Forensic Imagination, Museum London, ON (2010)
Letter to Leopold, Brussels Biennale, Belgium (2008)
For Reasons of State, Whitney ISP, The Kitchen, New York, NY (2008)
Poetics of Erasure, Simon Fraser University Gallery, Vancouver, BC (2008)
Conflicted/Inflicted: Dictionary of War, Stadelschule Museum, Frankfurt (2006)
Pick Up! Art Gallery of Hamilton, ON (2003)
Probing into the Distance, Contemporary Art Forum, Kitchener, ON (2003)
Domicile: Work from the Permanent Collection, Kamloops Art Gallery, BC (2003)
Signal and Noise, Video In, Vancouver, BC (2002)
Phony, Southern Alberta Art Gallery, Lethbridge, AB (2001)
Take Two, Ottawa Art Gallery, Ottawa, ON (2001)
Snapshot, Contemporary Museum, Baltimore, MD (2001)
Frequent Flyers, Artspace, Sydney, Australia (2000)
Feedback, University Art Gallery, State University of New York at Stonybrook, NY (2000)
Civil Disturbances: REPOhistory & New York Lawyers for the Public Interest, NY (1998)
Slow Pressure, Contemporary Art Gallery, Vancouver, BC (1997)
In Transit 2, The Swiss Institute, New York, NY (1996)
Never Walk Alone, The Photographer’s Gallery, London (1996)
Urban Fictions, Presentation House Gallery, Vancouver, BC (1996)
Boomtown: Random Acts of Public Art, San Diego, CA (1995)
Benchmarks, The Association for Non-Commercial Culture, Vancouver, BC (1994)
Perambulations, Washington State Art in Public Places Program, Seattle, WA (1994)
2014 Arts Council of England
2014 Goldsmiths Research Funds
2014 Canada Council Project Grant to Visual Artists
2009 Social Studies & Humanities Research Council Travel Grant, (also 2008, 2007, 2005)
2008 Canada Council Travel Grant in Visual Arts (also 2000, 1997, 1994)
2006/09 Overseas Research Scholarship Award Scheme
2004 Ontario Arts Council Project Grant (also 2001)
2003 SSHRC Interdisciplinary Team Grant (Principal A. Purdy)
2003 Canada Council B Grant in Visual Arts (also 2000, 1998, 1995)
1997 Project Grant, Pro Helvetia, Switzerland
1997 National Endowment for the Arts Award, USA
1997 Van Lier Foundation Grant, New York
Science in India Research Network,by directed Dr. Jahnavi Phalkey (Kings College India Institute)
Site Magazine: Journal for Contemporary Art, Architecture, Cinema, and Philosophy, Stockholm, Sweden (editorial board)
Second Nature: The International Journal of Creative Media, R.M.I.T. Melbourne, Australia (editorial board)
2015 Life Remade: The Politics and Aesthetics of Animation, Simulation and Rendering, Birkbeck Institute for the Moving Image, London (June 5-6)
Keynote Lecture, Knowledge Landscapes North America, University of Bonn (May 29)
Watching the Watchmen. Surveillance & Counter-Surveillance at the Border, Amsterdam, Netherlands Graduate Research School of Science (May 28)
2014 Secrecy, Surveillance & Censorship, Logan Symposium, Centre for Investigative Journalism, Barbican (Dec 7)
From Fact-finding to Evidence, The Hague Institute for Global Justice, Den Haag (Oct 2) Improving Reality 2014-Visibility is a Trap, Brighton Digital Festival (Sept 4) Visualising Radiation, Actinium Panel, Sapporo, Japan (July 17)
Timely Measures, Study of Colonialism, Empire & International Law, SOAS (June 20)
2013 Goldsmiths in Conversation with Judith Butler (May 23)
Black Maria, Lecture & Screening, Central St Martins, London (Feb 25)
De Toute Evidence: Image, Preuve, Attestation, Université du Quebec à Montréal, Canada
2010 Atomic Fever and the Archive. Distinguished Speaker, Fine Arts University of British Columbia, Vancouver (April 13)
2002 Endnote Speaker: Matrilineage Conference, Syracuse University, New York
Rethinking Radiation Ecologies, Universite de Montreal, PQ, Canada (March 19-20)
Automation, Autonomy, The Bartlett / UCL (Feb 11)
Through a Radioactive Lens, Panel Discussion, Work Gallery, London (Oct 14)
Out-computing Terrorism, Unit of Play, Sociology Goldsmiths (Oct 29)
Archives of the Future, University of Westminster, London (March 29)
The Public Image, International Visual Sociology Assoc, Goldsmiths (July 8-10)
Images of Terror Narratives of (In)Security, University of Lisbon (April 23-24)
Forensics Workshop, Wide Open School, Hayward Gallery (June 14)
Walk-back Technology, Beyond Representation, Centre for Media & Culture Research, London South Bank University, London (May 24). Also presented at Helsinki Photomedia: Images in Circulation, Aalto University, School of Art & Design, Helsinki (March 29)
Furtive Media: The Deep Image of Matter, Objects, Practices, Territories , Objectos, Práticas, Territórios, Guimarães, Portugal (May 5)
Forensic Documentary, London College of Communication (Lecture April 25)
Earth Objects, Künstlerhaus Büchenhausen, Innsbruck (Performance with Nabil Ahmed, March 19)
Improvised Explosive Designs: The Film-set as Military Set-up, Theoriesalon, Organised by Expanded Design, Vienna (March 9)
Some Sinister Force, Right to Silence II, Showroom, London (Feb 25)
Considering Vietnam, Organised by the War and Conflict Research Group, UAL Photography and the Archive Research Centre, in partnership with IWM and support of the London College of Communication (Feb 17)
Politics of Ecology, CRA Salon, Barbican, London (Jan 21)
Constructed Evidence, Forensic Aesthetics, Vera List Center for Art and Politics, The New School, NY (Nov 5)
Panel Discussion with Jane and Louise Wilson, John Hansard Gallery (Sept 3)
Machine Memory, Contested Spaces, Copenhagen (March 17)
Walk-back Technology, Collaboration with the Photo-Lexic, International Research Group, Minerva Humanities Center, Tel Aviv University (March 11)
Forensic Evidence, Bard College, NY (Feb 4)
Tricked-out Space in Michael Haneke’s Caché, University of Liverpool (May 13)
Entanglement as Medial Practice, ATACD, University of Barcelona, Spain
Soviet Defectors, UAAC, Edmonton, Canada
Deformed Media Space, Ubiquitous Media, University of Tokyo, Japan
Load Space, Spatial Dramaturgies, University of Frankfurt, Germany
Theorising Affect, Social/Spatial Theory Research Ctr., Durham University
Archiving Silence, Siting the Document, Queen Mary University
Reinventing Machinic Life, Evolutions, University of Edinburgh
From Here to Eternity, Cultural Fictions II, Goldsmiths, University of London
Heterotopia and the City, Intl American Studies Association, Ottawa, Canada
Re-Wiring the City: Technology in Public Places, CAFKA, Canada
Expo 67, History of the Future, IAMHIST Conference, University of Leicester
The Art of Public Nuisance, Geographies of Governance, Sir Wilfrid Laurier University,
Evidence on Trial, 16-channel video installation, Stroom Den Haag, NL (2014)
Material Witness (experimental documentary), 30 min. (2014)
Can the Suni Lie? 12 mis. (2014)
Stretch, The Kitchen, NYC, video re-enactment (2008)
Time Lag, 12 min., video, “Crossing Time Zones”, Goldsmiths), UK (2007)
Plot, 45 min., video, Contemporary Art Forum, Kitchener, ON (2003)
Pick Up! Audio CD, Art Gallery of Hamilton, Hamilton, ON
Phony, Interactive CD ROM, Southern Alberta Art Gallery, Lethbridge, AB (2001)
Martha, 12 min. video, Take Two, Ottawa Art Gallery, Ottawa, ON (2000)
Frequent Fliers, Interactive CD ROM, Artspace, Sydney, Australia
“Singing the Body Electric”, Symposium, SUNY Stonybrook, NY. Tape produced at Saw Video, Ottawa, ON
Watching the Watchmen. Surveillance and Counter-Surveillance at the Border, Amsterdam, Netherlands Graduate Research School of Science, Technology and Modern Culture, the Amsterdam Center for Globalization Studies and the Amsterdam School for Cultural Analysis (May 28)
Keynote Lecture, Knowledge Landscapes North America, University of Bonn (May 29)
Planetary Urbanism, The Bartlett / UCL (Feb 11)
Logan Symposium, Centre for Investigative Journalism, Barbican (Dec 7)
Outcomputing Terrorism, Unit of Play, Sociology Goldsmiths (Oct 29)
Evidence on Trial, The Hague Institute for Global Justice, Den Haag (Oct 2)
Secrecy & Imagined Truths, Improving Reality-Visibility is a Trap, Brighton Digital Festival (Sept 4)
Visualising Radiation, Actinium Panel, Sapporo, Japan (July 17)
Timely Measures, Centre for Critical Thought, University of Kent & Institute for International Law and Humanities, University of Melbourne, Centre for the Study of Colonialism, Empire & International Law, SOAS, London (June 20)
Archives of the Future, University of Westminster, London (March 29)
Goldsmiths in Conversation with Judith Butler (May 23 2013)
Lecture on "The Most Dangeroud Film in the World". Nuclear Institute, Manchester (May 13 2013)
Images of Terror Narratives of (In)Security, University of Lisbon (April 23-24 2013)
Circulation & Withdrawal Lecture Series, Goldsmiths MFA (March 11 2013)
De toute évidence: image, preuve, attestation, Université du Quebec à Montréal, Canada (January 11, 2013)
“Walk-back Technology,” Beyond Representation: Photography, Humans, and Computers, Centre for Media & Culture Research, London South Bank University in association with the journal Philosophy of Photography, London (May 24 2012). Also presented at Helsinki Photomedia: Images in Circulation, Aalto University, School of Art & Design, Helsinki (March 29 2012)
“Furtive Media: The Deep Image of Matter”, Objects, Practices, Territories / Objectos, Práticas, Territórios, Guimarães, Portugal (May 5 2012)
“Forensic Documentary,” London College of Communication (Lecture April 25 2012)
“Earth Objects: Topological Experiments in the Folds of Concurrent Jurisdictions,” Künstlerhaus Büchenhausen, Innsbruck (Performance Lecture with Nabil Ahmed) March 19 2012)
“Improvised Explosive Designs: The Film-set as Military Set-up”, Theoriesalon ♯10, Organised by Expanded Design, Vienna (March 9 2012)
“Some Sinister Force,” Right to Silence II, Showroom, London (Feb 25 2012)
“War Dialling: Image transmissions from Saigon” Considering Vietnam, Organised by the War and Conflict Research Group, UAL Photography and the Archive Research Centre, in partnership with IWM and with the support of the London College of Communication (Feb 17 2012)
“Earth-objects and the Politics of Ecology,” Salon: Centre for Research Architecture, Barbican, London (Presentation Jan 21 2012)
“Constructed Evidence,” Forensic Aesthetics: Vera List Center for Art and Politics, The New School, NY (Nov 5 2011)
Panel Discussion with Jane and Louise Wilson, John Hansard Gallery (Sept 3 2011)
“Machine Memory.” Contested Spaces: Witness, Memory, Affect, Programme in Cultural Studies, Literature and the Arts CréArt Doctoral Program, Université de Paris X , Research Architecture, Goldsmiths, Copenhagen (March 17 2011)
“Walk-back Technology: Dusting for Fingerprints and Tracking Digital Footprints.” Photo-Lexic: The Forensic Dimensions of Photography, Conference hosted by the Centre for Research Architecture, Goldsmiths in collaboration with the Photo-Lexic, International Research Group, Minerva Humanities Center, Tel Aviv University (March 11 2011)
“Forensic Imagination.” Forensic Evidence. Bard College, NY (Feb 4 2011)
“Tricked-out Space in Michael Haneke’s Caché.” Neo-Baroque, University of Liverpool (May 13 2010)
“Atomic Fever and the Archive.” Distinguished Speaker, Fine Arts UBC, Vancouver (April 13 2010)
“Entanglement as Medial Practice.” ATACD, University of Barcelona, Spain (2009)
“Soviet Defectors.” UAAC, Edmonton, Canada
“Deformed Media Space.” Ubiquitous Media, University of Tokyo, Japan (2007)
“Load Space.” Spatial Dramaturgies, University of Frankfurt, Germany
Theorising Affect, Social/Spatial Theory Research Ctr., Durham University
“Archiving Silence.” Siting the Document, “Archival Aphasia”, Queen Mary University (2006)
“Reinventing Machinic Life." Evolutions, University of Edinburgh
“From Here to Eternity.” Cultural Fictions II, Goldsmiths, University of London
“Heterotopia and the City.” First Worlds, Third Spaces, International American Studies Association, Ottawa, ON
“Re-Wiring the City: Technology in Public Places.” CAFKA, ON (2003)
“Expo 67.” History of the Future, IAMHIST Conference, University of Leicester
Endnote Speaker: Matrilineage Conference, Syracuse University, New York (2002)
“The Art of Public Nuisance.” Geographies of Governance, Wilfrid Laurier University, Kitchener, ON
MATERIAL WITNESS: Forensic Media and the Production of Evidence (monograph in-progress)
This research introduces a new operative concept — the material witness — an entity (object or unit) whose physical properties or technical configuration records evidence of passing events to which it can bear witness. Whether these events register as a by-product of an unintentional encounter or as an expression of direct action, history and by extension politics is encoded at these junctures of ontological intensity. When materials, including computational objects, are subject to external processes that bring about their structural reordering, they produce what philosopher of science Isabelle Stengers has called an “informed material” in the sense that their internal composition becomes progressively enriched by information. Conceptualising all recoded material as informationally enriched troubles a certain distinction between the analogue and digital whereby information is generally regarded as belonging to the purview of immaterial data, whereas properties are what define physical matter. Treating both analogue and digital entities as informed matter fosters greater connectivity between disparate events, forging new categories of assembly across disciplines that have their material stakes in different kinds of questions. Moreover, under specific circumstances and through the intercession of a forensic methodology that enables this informed condition to ‘materialise’, such entities can provide insights into the historical processes out of which they emerged conferring a contingent politics onto matter.
DIRTY PICTURES: Toxic Ecologies as Extreme Images (experimental film and research project)
Debates are currently taking place amongst scientists as to whether we have entered a new geological epoch – the Anthropocene – to reflect humanity’s considerable impact upon earth, the outcome of which would formally bring an end to the current period of the Holocene. However, theorising these transformations purely in terms of their radical geological reorganisation, neglects their fundamental visual dynamics. Anthropogenic matter is relentlessly aesthetic in throwing disturbing images back at us: dirty pictures of dramatically warped landscapes and polluted atmospheres that both intoxicate and repulse. The term (anthropocene) has itself migrated rapidly from the physical sciences into the arts and humanities to designate a condition whereby it is impossible to disarticulate nature from culture. It is within this expanded disciplinary context (with its theoretical adaptations of the anthropocene) that its particular relevance to this research initiative is situated. The research forwards the proposition that we have, by extension, also entered a new geo-photo-graphic era in which polluted environments have been transformed into vast photosensitive arrays that are registering and recording the transformations brought about by modern industrialisation and its contaminating processes. From the Deepwater Horizon oil spill, the radioactive fallout at the Fukushima Daiichi plant, to the photochemical smog that enshrouds cities around the globe and the dark snow of the Arctic, a comprehensive image-archive of material wrongs has emerged. It’s investigations, drawn from these aforementioned research areas – irradiated zones, oil spills, dark snow, and smog scapes – offer paradigmatic case studies for exploring the agency of toxic materiality as a form of extreme media because of the unique manner in which industrial practices and environmental systems combine to produce image-events that share many of the same optical properties and chemical processes identified with the lens-based technologies of photography and film.
FORENSIC ARCHITECTURE: The Space of Law in War
Forensic Architecture refers to the presentation of spatial analysis within contemporary legal and political forums. The project undertakes research that maps, images, and models sites of violence within the framework of international humanitarian law and human rights. Through its public activities it also situates forensic architecture within broader historical and theoretical contexts.
A Cultural History of Law in the Modern Age. Eds. Danielle Celermajer & Richard Sherwin, Bloomsbury Publishing, London, 2015. (book chapter forthcoming)
“Slick Images: The Photogenic Surface of Disaster.” Extra City, Antwerp, 2015. (forthcoming)
“War Dialling: Image Transmissions from Saigon.” Mythologizing the Vietnam War: Visual Culture and Mediated Memory. Eds. Good, Jennifer, et al. Cambridge: Cambridge Scholars Publishing, 2015. (book chapter forthcoming)
“Law and Disorder.” Realism Materialism Art. Eds. Cox, Christoph, Jennifer Jaskey and Suhail Malik. Berlin: Sternberg Press, 2014. (forthcoming)
“Radical Contact Prints”. Camera Atomica, ed. John O’Brian, Art Gallery of Ontario, Toronto, Canada. Blackdog Publishing, (2014): 277-291.
“Deadly Algorithms: Can Legal Codes hold Software accountable for Code that Kills?” Radical Philosophy, Issue 187 UK, (2014): 2-8. Also published in french as "Mortels Algorithmes: Du Code Penal au Code Letal", Jef Klak, Critique sociale & expériences littéraires
Truth is Concrete: A Handbook for Artistic Strategies in Real Politics Ed. Florian Malzacher. Berlin: Sternberg Press, (2014): 221-223.
“Can the Sun Lie”, “Entering Evidence”, “Uneasy Listening”. Essay contributions to Forensis: The Architecture of Public Truth. Ed. Forensic Architecture, Berlin: Sternberg Press, (2014): 56-64, 279-314, 381-392.
“Atmospheric Correction.” On the Verge of Photography: Imaging Beyond Representation. Eds. Rubinstein, Daniel, Johnny Golding and Andrew Fisher. Birmingham: Birmingham Article Press, (2013): 16-32.
“Walk-Back Technology: Dusting for Fingerprints and Tracking Digital Footprints.” Photographies (Routledge) Helsinki Photomedia.6.1 (2013): 159-167.
“The Most Dangerous Film in the World (Reprint).” Materialities. Ed. Gutfranski, Krzysztof. Gdańsk: Wyspa Progress Foundation / Wyspa Institute of Art from Gdańsk, (2013): 241-272.
“Probative Pictures: Image Proofs in Errol Morris’s Standard Operating Procedure.” CV Ciel Variable Ed. Vincent Lavoie.91 Contemporary Art and Forensic Imagination (2013): 20-28.
“Half Truths”, Mute, January 10 2013.
“Public Service Announcements: Art for the Coming Community.” Service Media. Ed. Keeler, Stuart. Chicago: Green Lantern Press, (2012): 115-22.
“A Memorial in Exile in London’s Olympics: Orbits of Responsibility.” Open Democracy (2012).
“Atmosfärisk Korrigering.” Glänta 4.12 (2012): 12-21.
“Impure Matter: A Forensics of WTC Dust.” Savage Objects. Ed. Pereira, Godofredo. Portugal: Imprensa Nacional Casa da Moeda (2012): 120-140.
“Material Malfeasance: Trace Evidence of Violence in Three Image-Acts.” Photoworks Issue 17 (November 2011-April 2012): 28-33.
“Tape 342: That Dangerous Supplement.” Cabinet Forensics.43 (2011): 86-89.
“Forensic Architecture.” With Weizman, Tavares, Schuppli, Situ Studio. Architectural Design, Eds. Lahoud, Adrian and Charles Rice. 80.5 (2010): 58-63.
“Improvised Explosive Designs: The Film-Set as Military Set-Up.” Borderlands 9.2 (2010): 1-18.
“The Most Dangerous Film in the World.” Tickle Your Catastrophe. Eds. Roy, Frederik Le, Nele Wynants and Robrecht Vanderbeeken Dominiek Hoens. Ghent: Ghent University, the KASK (Ghent Royal Academy of Fine Arts) and Vooruit, (2010): 130-45.
“Reading Radiological Film “ Site / Documentary narratives & non-fictional narrativity in film and art 28.Ed. Karl Lydén (2009).
“Curse of the Mummy: Oral Affliction or Archival Aphasia.” Memory Studies 2.2 (2008): 167-86.
“Of Moths and Machines.” Cosmos & History: The Journal of Natural and Social Philosophy 4.1-2 (2008): 286-306.
“Fallet Med De Förlorade 18-½ Minuterna.” SITE 18.19 (2007).
Guest Editor. “Exposé 67: Special Issue on Expo 67.” Winter Edition Vol. 2-22. Saskatoon: Blackflash, 2004-05.
“Picturing Place: Photography and the Geographical Imagination (Book Review).” The Canadian Geographer 48.4 (2004): 2.
Content last modified: 22 Mar 2015
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