The Flickr Instituteofcontemporaryarts Image Generatr

Enjoying the downtown Boston skyline (and dramatic clouds) from the Lewis Mall ferry slip in East Boston after a great day at Piers Park and the ICA (Institute of Contemporary Arts) Watershed museum.

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

By Paula Rego

The white figure with black outlines, towards the centre, is a representation of the artist's father. Ominous forces surround and overwhelm him. Rego's father died the year after this collage was made, his Republican ideals unfulfilled. Manifesto (For a Lost Cause) was reproduced on the catalogue cover for Rego's first solo exhibition at the National Society of Fine Arts in Lisbon in 1965. Visitors were shocked by the exhibition's imagery and by Rego's use of collage and bold colour.
The work was also shown at the Institute of Contemporary Arts in London the same year.
[Tate Britain]

Paula Rego
(July – October 2021)

The UK's largest and most comprehensive retrospective of Paula Rego’s work to date.
Since the 1950s, Paula Rego has played a key role in redefining figurative art in the UK and internationally. An uncompromising artist of extraordinary imaginative power, she has revolutionised the way in which women are represented.
This exhibition tells the story of this artist’s extraordinary life, highlighting the personal nature of much of her work and the socio-political context in which it is rooted. It also reveals the artist’s broad range of references, from comic strips to history painting.
It features over 100 works, including collage, paintings, large-scale pastels, ink and pencil drawings and etchings. These include early works from the 1950s in which Rego first explored personal as well as social struggle, her large pastels of single figures from the acclaimed Dog Women and Abortion series and her richly layered, staged scenes from the 2000-10s.
This is a unique opportunity to survey, in the city that Rego has lived in and called home for most of her life, the full range of her work.
[Tate Britain]

Taken in Tate Britain

By Paula Rego

The white figure with black outlines, towards the centre, is a representation of the artist's father. Ominous forces surround and overwhelm him. Rego's father died the year after this collage was made, his Republican ideals unfulfilled. Manifesto (For a Lost Cause) was reproduced on the catalogue cover for Rego's first solo exhibition at the National Society of Fine Arts in Lisbon in 1965. Visitors were shocked by the exhibition's imagery and by Rego's use of collage and bold colour.
The work was also shown at the Institute of Contemporary Arts in London the same year.
[Tate Britain]

Paula Rego
(July – October 2021)

The UK's largest and most comprehensive retrospective of Paula Rego’s work to date.
Since the 1950s, Paula Rego has played a key role in redefining figurative art in the UK and internationally. An uncompromising artist of extraordinary imaginative power, she has revolutionised the way in which women are represented.
This exhibition tells the story of this artist’s extraordinary life, highlighting the personal nature of much of her work and the socio-political context in which it is rooted. It also reveals the artist’s broad range of references, from comic strips to history painting.
It features over 100 works, including collage, paintings, large-scale pastels, ink and pencil drawings and etchings. These include early works from the 1950s in which Rego first explored personal as well as social struggle, her large pastels of single figures from the acclaimed Dog Women and Abortion series and her richly layered, staged scenes from the 2000-10s.
This is a unique opportunity to survey, in the city that Rego has lived in and called home for most of her life, the full range of her work.
[Tate Britain]

Taken in Tate Britain

From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006

On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]

Iguala, Mexico, 26–27 September 2014
(Investigation 2016 – 2017)

On the night of the 26–27 September 2014, a group of students and activists from the Rural Normal School of Ayotzinapa were attacked in the town of Iguala, Guerrero, Mexico. The students had commandeered buses to take them to a political protest in Mexico City. The attacks were committed by local police in collusion with criminal organisations and other branches of the Mexican security apparatus, including state and federal police and the military. Six people were murdered, 40 wounded, and 43 students were forcibly disappeared.
Forensic Architecture’s investigation data-mined thousands of reported incidents, videos, and phone-logs from reports composed by the Inter-American Commission on Human Rights (IACHR), and plotted this data within an interactive platform. This online cartographic platform helps users and investigators explore the relationship between thousands of events – shootings, car movements and two way communications – and hundreds of actors belonging to the different organisations involved. The data reveals instances of collusion and coordination between state organisations and organised crime, and identifies contradictions in layers of testimony and reports.
A large-scale mural, titled The Forking Paths of Ayotzinapa, plots the narrative timeline of different actors in the atrocity – victims, state security agents and members of criminal organisations – as well as that of the federal investigators. The diagram shows the simplified narrative of the incident presented by the Mexican Federal Attorney General, contrasting with the divergent and far more complex narratives derived from the testimonies of the surviving students and the IACHR reports.
The mural therefore presents enforced disappearance as a narrative form. Such actions are revealed to be not only acts of violence against people, but also against information. Enforced disappearance includes the physical destruction of bodies as well as the destruction of evidence and the introduction of false narratives. These practices made it possible for the whereabouts of the 43 Ayotzinapa students to remain a mystery to the present day.
The parents of the victims have used Forensic Architecture’s investigation to challenge the state’s version of events. The trial is at its first stage, but one of the Mexican Supreme Court justices has stated publicly that Forensic Architecture’s work is an opportunity to ‘reconsider state violence’, signaling that the state judiciary is examining this evidence.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]

From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006

On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]

Forensic Oceanography is a project initiated within the framework of Forensic Architecture by Charles Heller and Lorenzo Pezzani, in the wake of the Arab uprisings of 2011. It seeks to critically investigate the militarised border regime imposed by Europe across the Mediterranean Sea, analysing the political, spatial and aesthetic conditions that have led to the death of large numbers of migrants in the region over the last 30 years.
By combining human testimonies with traces left across the digital sensorium of the sea constituted by radars, satellite imagery and vessel tracking systems, Forensic Oceanography has mobilised surveillance means ‘against the grain’ to contest both the violence of borders and the regime of (in)visibility on which it is founded. While the seas have been carved up into a complex jurisdictional space that allows states to extend their sovereign claims through police operations beyond the limits of their territory, but also to retract themselves from obligations, such as rescuing vessels in distress, Forensic Oceanography has sought to locate particular incidents within the legal architecture of the EU’s maritime frontier, so as to determine responsibility for them.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]

From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006

On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]

From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006

On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]

Part of Counter Investigations by Forensic Architecture (March-May 2018).

Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]