CV︎︎︎
sschuppli@gmail.com
s.schuppli@gold.ac.uk
critical ecologies

Susan Schuppli, Director
Centre for Research Architecture
Department of Visual Cultures
Goldsmiths University of London
United Kingdom, SE14 6NW





BIOGRAPHY

Susan Schuppli is a researcher and artist based in the UK whose work examines material evidence from war and conflict to environmental disasters and climate change. Current work is focused on learning from ice and the politics of cold.

Creative projects have been exhibited throughout Europe, Asia, Canada, and the US. She has published widely within the context of media and politics and is author of the book, Material Witness published by MIT Press in 2020.

Schuppli is Professor and Director of the Centre for Research Architecture, Goldsmiths University of London where she is also an affiliate artist-researcher and Board Chair of Forensic Architecture. Previously she was Senior Research Fellow and Project Co-ordinator of Forensic Architecture. Prior to working in the UK she was an Associate Professor in visual/media arts in Canada. Schuppli received her PhD from Goldsmiths and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. She is the recipient of the 2016 ICP Infinity Award.

SUMMARY

My earlier work as an artist-researcher and writer explored material evidence, specifically the ways in which non-human witnesses, enter into trials and tribunals to testify to historical events, in particular those involving political violence, ethnic conflict, and war crimes. This work assumed many different modes of communication from legal analysis and public advocacy to theoretical reflection and creative exploration. Current research and artistic production expands these investigations to examine how environmental systems and the transformations brought about by global warming are generating new forms of evidence; creating, in effect, a planetary archive of material witnesses.

“Denaturalizing the Image: An Interview with Susan Schuppli” by L. Lee-Morrison in Machinic Visions of the Planetary, Vol. 5, 2023 

“The ecological is a sensability. ”Interview with Ricky Ruihong Li

Art Fictions Podcast︎︎︎

ORCID 
EXHIBITIONS


2024
  • Notes on Air, SALT Gallery in Istanbul (Ice Cores screening)
  • Boxen, Västernorrlands Museum
  • A view from Above, Exposed, Torinto Foto Festival
  • Re/sisters, FOMU, Fotomuseum Antwerp
  • Mayrit Design Biennial, Madrid
  • Kunsthaus Zürich
  • Hamburger Kunsthalle
202320222021
  • Earthlings, Fotograf Festival, Prague, Czech Republic
  • Im-Possible Images, Lotheringer 13 Halle, Munich, Germany
2020
  • Splitting the Atom, Contemporary Art Centre, Vilnius, Lithuania
  • God in Reverse, Richmond Art Gallery, Canada
  • Center for Contemporary Arts Prague, , Czech Republic
2019
  • Spill, The Morris and Helen Belkin Gallery, Vancouver, Canada
  • Logistics of Sense: Investigations, Blackwood Gallery, Mississauga, Canada
  • Overtones: On How to Listen, Goethe Institute, Ramallah, Palestina
  • Toronto Biennial, Canada
  • Lofoten International Art Festival, Norway
  • Poekhali, Bergen Kunsthall, Norway
  • Black Cloud, Kyiv Biennial, Ukraine
  • The Coming World: Ecology as the New Politics, Garage Museum of Contemporary Art, Moscow, Russia
  • Sensing Seas, Capture Photography Festival, Vancouver, Canada
  • Eavesdropping, City Gallery Wellington / Te Wagre Toi, New Zealand
  • Dangerous Liaisons: On Environmental Justice through Toxic Trades, Extra City, Antwerp, Belgium
  • Earth/Sky: UCSD Gallery, San Diego, USA
  • This Must be True, Khoj, Delhi, India
  • La Chapelle Saint-Jacques, France
2018
  • Wir Und Die Sonne, Deutsches Hygiene-Museum, Dresden, Germany
  • The Cloud Library, Photo+Sphere, Elizabeth Holden Gallery, North Carolina, USA
  • Eavesdropping, Ian Potter Museum of Art + Liquid Architecture, Melbourne, Australia
  • Space of Flows: Framing an Unseen Reality, Krakow Photomonth Festival, Poland
  • 74 million million million tons, SculptureCenter, Queens, New York, USA
  • The Architecture of Conflict, Vi Per Gallery, Prague, Czech Republic
  • Malmö Konstmuseum, Sweden 
  • Resolution is Not the Point, Photo50 London Art Fair, UK
2017
  • Clouds ⇄ Forests, Moscow Biennale, Russia
  • The Image of War, Bonniers Konsthall, Stockholm, Sweden
  • Ex-ante, Artspace, Auckland
  • Z33 House for Contemporary Art, Belgium
  • Radio Reina Sofía, Critical Spaces, Madrid, Spain
  • New Literacy, Ural Industrial Biennale, Russia
  • Scenographies of Power, La Casa Encendida, Madrid, Spain
  • Forensic Architecture: Towards an Investigative Aesthetics, MACBA, Barcelona & MUAC, Mexico 
  • Material Truth, Site Gallery, Sheffield, UK
  • Atmospheric Feedback Loops, Sonic Acts Commission, Netherlands
2016
  • Perpetual Uncertainty, Bildmuseet, Umea, Sweden
  • Reporting from the Front, Venice Biennale / Architecture, Itay
  • Sound of Sand, KARST, Plymouth, UK
2015
  • Art in the Age of…Asymmetrical Warfare, Witte de With, Rotterdam, Netherlands 
  • Arquitectura Forense, Fundación Proa, Buenas Aires, Argentina
  • Tape 342: A timeline of testimony, Galerie Wedding, Berlin, Germany
2014
  • The Social Factory, 10th Shanghai Biennale
  • Evidence on Trial, See you in The Hague, Stroom Den Haag, Netherlandss
  • Allegory of the Cave Painting, Extra City, Antwerp, Belgium
  • Wind Tunnel Project Artliner, UK
  • Hlysnan: On the Notion & Politics of Listening, Casino Luxembourg
  • Forensis, Haus Der Kulturen der Welt, Berlin, Germany
2013
  • Animism, Ilmin Museum of Art, Seoul, Korea