Eyal Weizman

Eyal Weizman is Professor of Spatial and Visual Cultures at Goldsmiths College, University of London and a Global Scholar at Princeton University. A founder of Forensic Architecture, he is also a founding member of the architectural collective DAAR in Beit Sahour/Palestine. His books include Mengele's Skull, The Least of All Possible Evils, and Hollow Land.

  • Forensic Architecture

    Forensic Architecture

    Violence at the Threshold of Detectability

    Eyal Weizman

    A new form of investigative practice that uses architecture as an optical device to investigate armed conflicts and environmental destruction.

    In recent years, the group Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Forensic Architecture has not only shed new light on human rights violations and state crimes across the globe, but has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

    In Forensic Architecture, Eyal Weizman, the group's founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Traversing multiple scales and durations, the case studies in this volume include the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

    Weizman's Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. The practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

    • Hardcover $39.95 £30.00
    • Paperback $34.95 £27.00
  • The Roundabout Revolutions

    The Roundabout Revolutions

    Eyal Weizman

    One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the Arab Spring and its hellish aftermath.

    Rereading the history of the roundabout through the vortices of history that traverse it, the book follows the development of the roundabout in Europe and North America in the early twentieth century, to its subsequent export to the colonial world in the context of attempts to discipline and police the “chaotic” non-Western city. How did an urban apparatus put in the service of authoritarian power became the locus of its undoing?

    Today, as the tide of revolt that characterized the Arab Spring seems to ebb, when nations and societies disintegrate by brutal civil wars and military oppression, the series of revolutions might seem like Dante's circles of hell. To counter this counter-revolution, Weizman proposes that the immanent power of the people at the roundabouts will need to find its corollary in sustained work at round tables—the ongoing formation of political movements able to enact political change. 

    The sixth volume of the Critical Spatial Practice series stems from Eyal Weizman's contribution to the Gwangju Folly II in 2013, an exhibition curated by Nikolaus Hirsch with Philipp Misselwitz and Eui Young Chun for the Gwangju Biennale. Weizman and the architect Samaneh Moafi constructed a folly composed of seven roundabouts and a round table in front of the Gwangju train station, one of the central points in the events of May 1980.

    Critical Spatial Practice 6With Blake Fisher and Samaneh MoafiEdited by Nikolaus Hirsch, Markus MiessenFeaturing photography by Kyungsub Shin

    • Paperback $19.95
  • Architecture after Revolution

    Architecture after Revolution

    Alessandro Petti, Sandi Hilal, and Eyal Weizman

    The work presented in this book is an invitation to undertake an urgent architectural and political thought experiment: to rethink today's struggles for justice and equality not only from the historical perspective of revolution, but also from that of a continued struggle for decolonization; consequently, to rethink the problem of political subjectivity not from the point of view of a Western conception of a liberal citizen but rather from that of the displaced and extraterritorial refugee. You will not find here descriptions of popular uprising, armed resistance, or political negotiations, despite these of course forming an integral and necessary part of any radical political transformation. Instead, the authors present a series of provocative projects that try to imagine “the morning after revolution.”

    Located on the edge of the desert in the town of Beit Sahour in Palestine, the architectural collective Decolonizing Architecture Art Residency (DAAR) has since 2007 combined discourse, spatial intervention, collective learning, public meetings, and legal challenges to open an arena for speculating about the seemingly impossible: the actual transformation of Israel's physical structures of domination. Against an architectural history of decolonization that sought to reuse colonial architecture for the same purpose for which it was originally built, DAAR sees opportunities in a set of playful propositions for the subversion, reuse, profanation, and recycling of these structures of domination and the legal infrastructures that sustain them.

    DAAR's projects should be understood as a series of architectural fables set in different locations: an abandoned military base near Beit Sahour, the refugee camp of Dheisheh in Bethlehem, the remnants of three houses on the Jaffa beach, the uncompleted Palestinian Parliament building, the historical village of Battir, the village of Miska destroyed during the Nakba, and the red-roofed West Bank colony of Jabel Tawil (P'sagot) next to Ramallah-El Bireh.

    • Hardcover $32.00

Contributor

  • Public Servants

    Public Servants

    Art and the Crisis of the Common Good

    Johanna Burton, Shannon Jackson, and Dominic Willsdon

    Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts.

    How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term “public art” is largely insufficient to describe such practices?  Concepts such as “new genre public art,” “social practice,” or “socially engaged art” may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways—driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes? This volume gathers essays, dialogues, and art projects—some previously published and some newly commissioned—to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.

    • Hardcover $44.95 £35.00
  • Simulation, Exercise, Operations

    Simulation, Exercise, Operations

    Robin Mackay

    Collection of interventions on the status of the moving image in an age of advanced simulation, exploring the contemporary links between power, simulation, and warfare.

    This collection of wide-ranging interventions and discussions on the status of the moving image in an age of advanced simulation explores the contemporary links between power, simulation, and warfare.

    Today, technological simulation has become an integral part of military training and operations; and at the same time, media spectacle—often enabled by the same technologies—has become integrated with military power. Trained in virtual environments, army personnel are increasingly enhanced by augmented reality technologies that bring combat into conformity with its simulation. Equally, the seductions of media and entertainment have become crucial weapons for “information dominance.” At the same time as the infosphere demands that war takes on the properties of a game, hyper-realistic videogames evolved from military technology become a kind of virtual distributed training camp, as the lines between simulation and action, combatant and civilian, become blurred.

    Based on a round table discussion prompted by the work of artist John Gerrard, Simulation, Exercise, Operations assembles thinkers from philosophy, media, and military theory to examine the powers of simulation in the contemporary world.

    • Paperback $12.95 £9.99
  • Sensible Politics

    Sensible Politics

    The Visual Culture of Nongovernmental Activism

    Meg McLagan and Yates McKee

    The interaction of politics and the visual in the activities of nongovernmental activists.

    Political acts are encoded in medial forms—punch holes on a card, images on a live stream, tweets about events unfolding in real time—that have force, shaping people as subjects and forming the contours of what is sensible, legible, and visible. In doing so they define the terms of political possibility and create terrain for political acts.

    Sensible Politics considers the constitutive role played by aesthetic and performative techniques in the staging of claims by nongovernmental activists. Attending to political aesthetics means focusing not on a disembodied image that travels under the concept of art or visual culture, nor on a preformed domain of the political that seeks subsequent expression in media form. Instead it requires bringing the two realms together into the same analytic frame.

    A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the “forensic architecture” of claims to truth; and the “Make Poverty History” campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic. Their contributions offer critical insight into the practices of mediation whereby the political becomes manifest.

    • Hardcover $37.95 £30.00
  • The Nightmare of Participation

    The Nightmare of Participation

    (Crossbench Praxis as a Mode of Criticality)

    Markus Miessen

    Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen's “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change.

    Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.

    Markus Miessen (*1978) is an architect, consultant, and writer based in Berlin. He runs the collaborative agency for spatial practice Studio Miessen and is director of the Winter School Middle East (Kuwait). Miessen has taught at institutions such as the Architectural Association (London), Columbia, and MIT. He is currently a Professor for Architecture and Curatorial Practice at the Hochschule für Gestaltung in Karlsruhe, Germany, a Harvard Fellow, and completing his PhD at the Centre for Research Architecture (Goldsmiths, London). www.studiomiessen.com

    • Paperback $19.95
  • Collapse, Volume 6

    Geo/Philosophy

    Robin Mackay

    Philosophers, theorists, eco-critics, leading scientific experts in climate change, and artists assess the present state of “planetary thought.”

    Is there an enduring bond between philosophical thought and the earth, or is philosophy's task to escape the planetary horizon? And what is the connection between the empirical earth, the contingent material support of human thinking, and the abstract “world” that is the condition for a “whole” of thought?

    Real and imaginary geographies and cartographies have played a dual role in philosophy, serving both as governing metaphor and as ultimate grounding for philosophical thought; but urgent contemporary concerns introduce new problems for geophilosophy: planetary political, technological, military, and financial mutations have scrambled territorial formations, and scientific predictions now present us with the apocalyptic scenario of a planet without human thought.

    The sixth volume of Collapse brings together philosophers, theorists, eco-critics, leading scientific experts in climate change, and artists whose work interrogates the link between philosophical thought, geography and cartography, in order to create a portrait of the present state of “planetary thought.”

    • Paperback $24.95 £20.00
  • The Power of Inclusive Exclusion

    The Power of Inclusive Exclusion

    Anatomy of Israeli Rule in the Occupied Palestinian Territories

    Adi Ophir, Michal Givoni, and Sari Hanafi

    Groundbreaking essays by leading Israeli and Palestinian scholars analyze the system of Israeli power in the Occupied Palestinian Territories.

    On the eve of its fifth decade, the Israeli occupation in the Palestinian territories can no longer be considered a temporary aberration. Israel's control over Palestinian life, society, space and land has become firmly entrenched while acquiring more sophisticated and enduring forms. The Power of Inclusive Exclusion analyzes the Israeli occupation as a rationalized system of political rule. With essays by leading Palestinian and Israeli scholars, a comprehensive chronology, photographs, and original documents, this groundbreaking book calls into question prevalent views of the occupation as a skewed form of brutal colonization, a type of Jewish apartheid, or an inevitable response to terrorism. The writers address the fundamental and contemporary dimensions of the occupation regime—its unpredictable bureaucratic apparatus, the fragmentation of space and regulation of movement, the intricate tapestry of law and regulations, the discriminatory control over economic flows and the calculated use of military violence. The Power of Inclusive Exclusion uncovers the structural logic that sustains and reproduces the occupation regime. In a time when military occupations are emerging globally, political disasters abound, and protracted control over groups of noncitizens has been normalized, The Power of Inclusive Exclusion provides a new set of categories crucial to our understanding of emergency regimes and identifies what is at stake for an informed and timely opposition.

    Contributors Caroline Abu-Sada, Gadi Algazi, Ariella Azoulay, Orna Ben-Naftali, Yael Berda, Hilla Dayan, Leila Farsakh, Dani Filc, Michal Givoni, Mira Givoni, Neve Gordon, Aeyal M. Gross, Sari Hanafi, Ariel Handel, Keren Michaeli, Adi Ophir, Ronen Shamir, Yehuda Shenhav, Eyal Weizman

    • Hardcover $38.95 £30.00
  • Support Structures

    Support Structures

    Céline Condorelli

    Support Structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself, this manual is an attempt to restore attention to one of the neglected, yet crucial modes through which we apprehend and shape the world.

    Support Structures is a critical enquiry into what constitutes “support,” and documents the collaborative project “Support Structure” by Céline Condorelli and Gavin Wade. While registering and collecting reference projects in a new archive of support structures alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts, which form the theoretical backbone of the publication. The collection of contributions offers different possibilities for engaging in this unchartered territory, from propositions to projects, existing systems to ones invented for specific creative processes.

    Support Structures offers support through potential methodologies, inspirations and activations for practice, and addresses important questions for art and architecture practices on forms of display, organization, articulation, appropriation, autonomy, and temporariness, and the manifestations of blindness towards them.

    Produced in co-production with Support Structure:Celine Condorelli and Gavin Wade with James Langdonwww.supportstructures.org

    Contributors Michael Asher, Artist Placement Group, Can Altay, Conrad Atkinson, Adam Broomberg & Oliver Chanarin, Lonnie van Brummelen & Siebren de Haan, Banu Cennetoglu, Christopher D'Arcangelo, Martin Beck, Cevdet Erek, Andrea Fraser, Buckminster Fuller, Ryan Gander, Ella Gibbs, Frederick Kiesler, Lucy Kimbell, James Langdon, El Lissitzky, Peter Nadin, “The offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince & Robin Winters,” Gordon Matta-Clark, Antoni Muntadas, Lilly Reich, Support Structure, Rirkrit Tiravanija, Lawrence Weiner, Christopher Williams, Carey Young, a.o.

    • Paperback $45.00