SUSAN SCHUPPLI

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	<title>SUSAN SCHUPPLI</title>
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	<pubDate>Wed, 18 Dec 2024 14:01:14 +0000</pubDate>
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		<title>Top Home</title>
				
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		<pubDate>Thu, 10 Mar 2022 11:14:33 +0000</pubDate>

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		<title>Research</title>
				
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		<pubDate>Thu, 10 Mar 2022 11:14:31 +0000</pubDate>

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	SUSAN SCHUPPLIRESEARCH&#38;nbsp;
	RESEARCH&#38;nbsp;&#38;nbsp; &#38;nbsp;WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT

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	LEARNING FROM ICE

Focuses on cryospheric environments in the Canadian Arctic, Svalbard Archipelago, and the Hindu Kush Himalayas.

	
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	DESIGNING RESISTANCE
Creating evidentiary tools for Indigenous struggles against green colonialism—specifically hydrogen plants in Namibia and mining operations in Canada. 


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	H.E.A.R.
Combines scientific and artistic approaches to climate change by developing acoustic and aural methodologies in cryospheric research.

	
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	NUCLEAR COMMONS
Explores the afterlives of radioactive materials from the accidents of Chernobyl and Fukushima Daiichi to the isotopic signature found in glacial ice.
 
	
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	EARTH EVIDENCE
Examines the evidential role of ecological materials in making claims such as oil spills and pollutants.
	

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	TRIALS, TRIBUNALS, TRUTH COMMISSIONS
Considers legal forums, in particular the ICTY, as well as the emergence of alternate accountability mechanisms. 
	

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	MATERIAL WITNESS
Investigates the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. 
	

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	SOUND PROOFS
Reflects upon sound’s entangelement with questions of law and speculates upon notions of acoustic justice.

	
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		<title>Top Research</title>
				
		<link>https://susanschuppli.com/Top-Research</link>

		<pubDate>Thu, 10 Mar 2022 11:14:32 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

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		<title>LEARNING FROM ICE </title>
				
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		<pubDate>Thu, 10 Mar 2022 11:14:26 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

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	LEARING FROM ICE


	LEARING FROM ICE

	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT


	A multi-year research project exploring how different knowledge practices from ice core science and glaciology to indigenous traditions, local observations, activism, policy, and law engage with the situated material conditions of ice.


It focuses on cryospheric environments in the Canadian Arctic, Svalbard Archipelago, and the Hindu Kush Himalayas and is comprised of a series of documentary films, field research and workshops with scientists, mountain communities, and students, as well as an artist residency.&#38;nbsp;

JUSTICE: Cold Rights in a Warming World (monograph in-progress).

PROJECTS

Sounding Ice field school &#38;amp; acoustic mapping project in the Yukon Territory with students (mid Feb-March 2025) Moving Ice film explores the transhemispheric frozen water trade (2024)

Climate Signals from Svalbard film examines extractivism from environmental data collection to coal mining (2024)Listening to Ice research comprised of fieldwork, workshops, public hearings in the Hindu Kush Himalayas, India &#38;amp; Nepal (2021-23)
Landscape as Material Witness BEK workshop / Bergan, Odda &#38;amp; Bondhus Glacier (21-25 February 2022)
Community Satellite Station, Artica Svalbard &#38;amp; OCA Norway (9-25 April 2022)
Cold Cases explore the politics of cold through the examination of a series of cases and contexts in which the thermostatic condition of cold and its differential experiences are entangled with legal questions, human rights violations but also claims for social and environmental justice. Collaboration with Forensic Architecture (2021-22)
Gondwana a 16mm film exploring India’s scientific role and research in Antarctica and Mars (2022)
Arctic Archipelago film shot during the circumnavigation of Spitsbergen in the Svalbard Arctic Archipelago, Norway (2020)


Ice Cores film shot in the Canadian Ice Core Archive, University of Alberta, the Ice Core and Quaternary Geochemistry Lab, Oregon State University and at the Athabasca Glacier (2019)

Tropical Glaciers super-8 film that will be shot on-location in Tanzania, intertwining my personal narratives of living on the slopes of Mt. Kilimanjaro with contemporary stories of endangered glaciers (TBC)


EXHIBITIONS

Kochi-Muziris Biennale, India (2022)

Stiftung Kunst und Natur, Museum Sinclair-Haus, Bad Homburg&#38;nbsp; (2022)The Berlin Biennale (2022)Weather Engines, Onasis Stegi, Athens (2022)Synthetic Ecology, Beijing Art Technology Biennale (2022)Toronto Biennale, Canada (2022)Ex-Post, Artspace Aotearoa, Auckland (2022)Open Futures: Kollektive Resonanz, Shedhalle, Zurich &#38;nbsp; &#38;nbsp; &#38;nbsp;(2021-22)Listening to Ice, COP26 Creative Commission (India/Himalayas 2021-22)Sensing Nature, Momenta Biennale de l’Image , Canada (2021)Earthlings, Fotograf Festival (Czech Republic) 2021The Ocean, Bergen Kunsthall, Norway (2022)


SCREENINGS

Night Air, Sonic Acts, Amsterdam (31 March 2022)

Matadero, Madrid (27-29 April 2022)Ice Cores, IHME Helsinki (16 February 2021)Ice Cores, RCA (January 23 2020)Ice Cores, Strelka, Moscow (22 February 2020)Ice Cores, Critical Ecologies (17 March 2020)

TALKS
MoMA R&#38;amp;D Salon on “Traces” (19 Sept 2023)

Podcast Art Fictions: Second Bodies &#38;amp; Talking Ice

Deep Journal workshops, Sentient Media, Matadero, Madrid (12-13 March 2022)

Just+Ice: Cold Rights in a Warming World, Conversation with Carey Young, Wolfson, Oxford College (3 March 2022)

Listening to Ice, KMD, Bergen (21 February 2022)

Cold Matters, Digital Democracies Institute, Simon Fraser University &#38;nbsp;(2 February 2022)

Knowledge, New Materialism, Decoloniality and Feminism, Sound Studies in Kunstwissenschafts Institute, Hochschule für Bildende Künste Braunschweig&#38;nbsp;(31 January 2022)

CryoDiscussion: What does the IPCC’s Sixth Assessment Report say about cryosphere change in the HKH? ICIMOD, Nepal (17 December 2021)

Cold Matters, FAMU Prague (2 December 2020)

RESOURCES
2005 Petition To The Inter-American Commission on Human Rights Seeking Relief From Violations Resulting from Global Warming Caused By Acts and Omissions of the United States&#38;nbsp; (Right to be Cold)

Do Glaciers Listen? / Book by Julie Cruikshank

Caring for Glaciers / Book by Karine Gagné

The End of Ice: Exploring a Himalayan Glacier / Article by Dexter Filkins

Artificial Glaciers of Ladakh


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This research is conducted with the commissioning partnership of the Toronto Biennal of Art, MOMENTA Biennale de l’image, Montreal, the Office for Contemporary Art Norway in collaboration with Artica Svalbard , Bergen Kunsthall and the Kochi-Muzuris Biennale. Funding support has been provided by the Canada Council for the Arts, the Graham Foundation, and the the British Council.

UK research assistant: Henry Bradley
India research assistant: Faiza Ahmad Khan

RESEARCH</description>
		
	</item>
		
		
	<item>
		<title>DESIGNING RESISTANCE</title>
				
		<link>https://susanschuppli.com/DESIGNING-RESISTANCE-1</link>

		<pubDate>Wed, 18 Dec 2024 14:01:14 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/DESIGNING-RESISTANCE-1</guid>

		<description>
	TRIALS, TRIBUNALS, TRUTH COMMISSIONS


	DESIGNING RESISTANCE
	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT

	
	Evidentiary Tools for Indigenous Struggles Against Green Colonialism

 
This project supports Indigenous communities that are facing environmental and cultural threats from extractivist activities, specifically hydrogen plants in Namibia and mining operations in Canada. 
Combining local knowledges with digital tools and interdisciplinary methods, the researchers will investigate neo-colonial exploitation in the guise of green energy transition and produce tools of resistance tools to strengthen Indigenous sovereignty and campaigns for realising just climate futures
The Forensic Architecture &#38;nbsp;agency whose pioneering methods of spatial reconstruction have shed light on human rights abuses globally will work with indigenous communities to develop practical tools for mapping, documenting, and defending the complex life worlds that are currently being threatened by such extractivist incursions in these regions. 
The project will produce tools of resistance tools to strengthen Indigenous sovereignty and campaigns for realising just climate futures. In Canada, our collaboration begins with a network of 14 academics and land defenders working on the relation between extractivism and the ‘just transition’. This research group is co- led by Professor Dayna Scott, an expert in environmental law and justice with long standing relations with Neskantaga First Nation. It was through their introduction of FA that Chief Chris Moonias invited us to propose a research project. 

TEAMSusan Schuppli, Project Lead
Agata Nguyen Chuong, Researcher &#38;amp; Innovation Associate
Omar Ferwati, Researcher &#38;amp; Innovation AssociateThis design-led research project is a research collaboration between Forensic Architecture, Goldsmiths University of London and industry partner, the Design Museum also based in London. Funded through the AHRC 2025-26.


ACTIVITIES


RESOURCES

Grassy Narrows First Nation taking Ontario to court over Mining Act, lack of consultation on land claims, CBC 12.07.2024.
Germany eyes Namibia's green hydrogen, DW: &#38;nbsp;12.02.2022
	&#60;img width="1199" height="674" width_o="1199" height_o="674" data-src="https://freight.cargo.site/t/original/i/864a1e4bf34b22305df2e672fc0b37c3a98795a18e1a0ff457a3bf4e9d785079/Namibia.jpeg" data-mid="223526442" border="0"  src="https://freight.cargo.site/w/1000/i/864a1e4bf34b22305df2e672fc0b37c3a98795a18e1a0ff457a3bf4e9d785079/Namibia.jpeg" /&#62;
Protests against the lack of transpareny in negotiations between Namibia and Germany around plans to develop hydrogen plants in the Kharas region. Source: DW, 2022&#60;img width="2384" height="1341" width_o="2384" height_o="1341" data-src="https://freight.cargo.site/t/original/i/fbe289bdea42ea43e6b94dfbba39b2b273505c8a4035075cc0b5a340951b8706/NO-MINING-LG.jpg" data-mid="223526126" border="0"  src="https://freight.cargo.site/w/1000/i/fbe289bdea42ea43e6b94dfbba39b2b273505c8a4035075cc0b5a340951b8706/NO-MINING-LG.jpg" /&#62;Thousands of Indigenous people people gathered at the Ontario Legislature to demand a face-to-face meeting with Premier Doug Ford. They say the province has allowed thousands of mining applications without their knowledge or consent. Source: CBC, 2023


RESEARCH</description>
		
	</item>
		
		
	<item>
		<title>H.E.A.R.</title>
				
		<link>https://susanschuppli.com/H-E-A-R</link>

		<pubDate>Fri, 18 Mar 2022 09:21:38 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/H-E-A-R</guid>

		<description>

	HIMALAYAN EXPERIMENTS IN ACOUSTIC RESEARCH


	HIMALAYAN EXPERIMENTS IN ACOUSTIC RESEARCH

	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT


	H.E.A.R. is focused on “listening to glaciers and mountain communities” in the Himalayas. Through a number of site-based activities carried out at Drang Drung Glacier in the Zanskar region during September-October 2021, the project and its team members set out to measure, monitor, and record the material transformations of the glacier as well as engage with local mountain communities directly impacted by climate change and glacial recession. Alongside standard geophysical measurements, the research also sought to develop experimental methodologies for understanding climate change, in particular the use of acoustics sensing.Scientific activities included the deployment of an underwater sensor (hydrophone) at the glacial lake, setting up both a GPS and meteorological weather station, as well as installing a series of bamboo stakes along a 15 km stretch into the ablation area of the glacier to measure annual changes in its mass balance.Workshops brought local villagers to the glacier for sessions in “deep listening.” Lowering various hydrophones into its icy crevasses allowed us to tune into its subglacial streams, to hear the rushing of meltwater, and the underwater crackling of ice and popping air bubbles. For some, the glacier conjured the domesticated sound of boiling tea, for others the whir of a passing helicopter. &#38;nbsp;Realised by artist-researcher Susan Schuppli glaciologist Mohd. Farooq Azam, and community organiser Faiza Ahmad Khan Supported by a British Council COP26 Creative Commission, 2021 

PROJECTS

Listening to Ice documentary (2022)

Singing Ice&#38;nbsp;book project with Morup Namgyal in Leh, Ladkah (2022)

Podcasts series
EXHIBITIONS

Kochi-Muziris Biennale, India (2022)

Stiftung Kunst und Natur, Museum Sinclair-Haus, Bad Homburg&#38;nbsp; (2022)Toronto Biennale, Canada (2022)


SCREENINGS
TALKS
Deep Journal workshops, Sentient Media, Matadero, Madrid (12-13 March 2022)

Just+Ice: Cold Rights in a Warming World, Conversation with Carey Young, Wolfson, Oxford College (3 March 2022)

Listening to Ice, KMD, Bergen (21 February 2022)

Cold Matters, Digital Democracies Institute, Simon Fraser University &#38;nbsp;(2 February 2022)

Knowledge, New Materialism, Decoloniality and Feminism, Sound Studies in Kunstwissenschafts Institute, Hochschule für Bildende Künste Braunschweig&#38;nbsp;(31 January 2022)

CryoDiscussion: What does the IPCC’s Sixth Assessment Report say about cryosphere change in the HKH? ICIMOD, Nepal (17 December 2021)


RESOURCES
2005 Petition To The Inter-American Commission on Human Rights Seeking Relief From Violations Resulting from Global Warming Caused By Acts and Omissions of the United States&#38;nbsp; (Right to be Cold)

Do Glaciers Listen? / Book by Julie Cruikshank

Caring for Glaciers / Book by Karine Gagné

The End of Ice: Exploring a Himalayan Glacier / Article by Dexter Filkins

Artificial Glaciers of Ladakh


&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/14fbe26ca988485c8974c8fa344d7faec46e7f817bc256e4dc10db78134b2f2b/30_ICE.jpg" data-mid="136737619" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/14fbe26ca988485c8974c8fa344d7faec46e7f817bc256e4dc10db78134b2f2b/30_ICE.jpg" /&#62;
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India research assistant &#38;amp; project co-ordinator, Faiza Ahmad KhanCinematographer based in Delhi, Gurmeet Sapal 
Jigmet Singge and Kunzang Deachen, Project Coordinators of the Ladkah-based NGO “Local Futures”Smriti Srivastava, PhD student, IIT IndoreMohd. Arif Hussain, PhD student, IIT IndoreMohd. Jawad, Teacher, Sankoo Kargil, LadakhBhim Bahadur Adhikari, Nepal

Singing Ice book project with Morup Namgyal in Leh, Ladkah• Translations: Jigmet Sinnge• Transcriptions: Tashi Morup• Design: Radha Pandey • Illustrations: Jigmet Angmoin

This research is conducted with the commissioning of the British Council COP26 Creative Commissions programme 2021-22. The book project is funded by a British Council Top-up grant 2022.

RESEARCH</description>
		
	</item>
		
		
	<item>
		<title>NUCLEAR COMMONS</title>
				
		<link>https://susanschuppli.com/NUCLEAR-COMMONS</link>

		<pubDate>Thu, 10 Mar 2022 11:14:28 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/NUCLEAR-COMMONS</guid>

		<description>

	NUCLEAR COMMONS


	NUCLEAR COMMONS
	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT


	Explores the afterlives of radioactive materials from the accidents at Chernobyl and more recently Fukushima to the isotopic signature found in glacial ice as well as issues related to geological containment and nuclear waste disposal. 

In addition to the production of a trilogy “Trace Evidence” exploring key nuclear events and an installation “Delay Decay” focusing on the lack of state response to the accident at Chernobyl, this research also delves into attendant test ban treaties and legal responses to nuclear events,&#38;nbsp;all of which are challenged by the extreme latency of nuclear contaminates.&#38;nbsp;For example strategic litigation advancing global nuclear disarmament by the Marshall Islands in the International Court of Justice.

NEWS
24.08.2023 TEPCO starts to release 1 million tons of tainted water into the Pacific Ocean

Fukushima radioactive water should be released into ocean, say Japan experts.


PROJECTS
Ice Cores, 2019

Trace Evidence, 2016

Delay, Decay, 2016
EXHIBTIONS

Splitting the Atom, Contemporary Art Centre, Vilnius, Latvia (2020)

Black Cloud, Kyiv Biennial (2019)

The Coming World: Ecology as the New Politics, Garage Museum of Contemporary Art, Moscow (2019)Deadly Affairs: On Environmental Justice through Toxic Trades, Extra City, Antwerp (2019)Trace Evidence, La Chapelle Saint-Jacques, France (2019)Clouds – Forests Moscow Biennale (2018)Malmö Konstmuseum, Sweden (2018)Forensic Architecture: Towards an Investigative Aesthetics, MACBA, Barcelona, (2017)

New Literacy, Ural Industrial Biennale, Russia (2017)Z33 House for Contemporary Art, Belgium (2017)Material Truths, Site Gallery, Sheffield (2017)Perpetual Uncertainty, Bildmuseet, Umea, Sweden (2016)Material Nuclear Culture, KARST, Plymouth (2016)


SCREENINGS

Lofoten International Art Festival, Norway, Trace Evidence screening (2019)Still There are Seeds to be Gathered, and Room in the Bag of Stars, Lofoten International Art Festival (2019)Poekhali, Bergen Kunsthall, Norway (2019)Royal Holloway, Egham, (7 June 2018)Grace Screening, Athens (11 February 2018)Environmental Humanities Centre, Amsterdam (3 &#38;amp; 10 November 2017)SAVVY Contemporary, Berlin (12 July 2017)Okeanos, Sekula beyond Sekula, TBA21, Vienna&#38;nbsp; (28 April 2017)DCA Cinema, Dundee (8 April 2017)Ashkal Alwan Home Workspace Program (24 March 2017)Sonic Acts, Amsterdam (26 February 2017)Kunsthal Charlottenborg, Copenhagen&#38;nbsp; (14 December 2016)HEAD, CCC Geneva (16 November 2016)Open School East, London (14 October 2017)


TALKS

Apocalyptic Archives: Nuclear Landscapes &#38;amp; Material Historie, Birkbeck School of Arts (2019)Nuclear Culture Research Project Goldsmiths &#38;amp; The Arts CatalystRethinking Radiation Ecologies UQAM, CanadaPanning for Atomic Gold, Arts Catalyst (2014)Whitechapel Discussion (2012)Through a Radioactive Lens Work Gallery (2014)
	

WRITING

Through Post-Atomic Eyes, McGill-Queen’s University Press (2020)“Trace Evidence: A Nuclear Trilogy.” The Nuclear Culture Source Book. Ed. Carpenter, Ele. London: Black Dog Publishing in partnership with Bildmuseet, Sweden and Arts Catalyst, (2016).Radical Contact Prints, Camera Atomica, 2014, reprinted in Susanne Kriemann’s book (P)ech (B)lend (2016).The Toxic Camera by Jane &#38;amp; Louise Wilson, (2013 script Susan Schuppli &#38;amp; Tony White)Granular Synthesis: The Sound of Sand (2013)The Most Dangerous Film in the World, (2009 &#38;amp; 2013 reprint)Material Malfeasance, Photoworks (2011)


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This research is conducted with the commissioning partnership of the Arts Catalyst, UK, the Bildmuseet, Sweden and the Nuclear Cultures Research Network at Goldsmiths. Funding support has been provided by the Canada Council for the Arts and the the Daiwa Foundation of Japan.

RESEARCH</description>
		
	</item>
		
		
	<item>
		<title>EARTH EVIDENCE</title>
				
		<link>https://susanschuppli.com/EARTH-EVIDENCE</link>

		<pubDate>Thu, 10 Mar 2022 11:14:28 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/EARTH-EVIDENCE</guid>

		<description>
	EARTH EVIDENCE
	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT


	Investigates the ways in which environmental systems operate as media: producing a vast information network composed of technical as well as natural sensors that are registering and transmitting the signals of pollution and climate change. 
Central to this research is an exploration of the methods whereby terrestrial, aquatic, and atmospheric environments engage in recording external events, particularly the effects of temperature, the arrival of water-soluble pollutants, and ingestion of air-borne contaminates, all of which are expressed as material transformations and molecular re-arrangements, thus rendering these environments as natural media archives.

In taking seriously the idea that nature is fully capable of documenting its own damaged condition and representing itself aesthetically, the research also explores the emergence of a category of new legal actors in the form of rivers, glaciers, and forests that have been endowed with the rights of legal personhood such that they are now able to represent themselves legally. Debates as to the legal rights of material entities thus become entangled with claims for social and environmental justice.


PROJECTS

Nature Represents Itself (installation 2018)
Atmospheric Feedback Loops (35mm film 2017)

Dark Ecology Journey / Sonic Acts (2017)
Playing Back the Histories of Climate Change, Radio Reina Sofía, Critical Spaces, Madrid (2017)
Trace Evidence (2016)
Can the Sun Lie? (2014-15)

EXHIBITIONS

Earthlings, Fotograf Festival (Czech Republic) 2021

The Center for Contemporary Arts Prague (2020)

Spill, The Morris and Helen Belkin Gallery, Vancouver (2019)
Deadly Affairs: On Environmental Justice through Toxic Trades, Extra City, Antwerp (2019)
This Must be True, Khoj, Delhi, India (2019)
74 million million million tons, SculptureCenter, Queens, NY, USA (2018)
WRITING

"Should Videos of Trees have Standing? An Inquiry into the Legal Rites of Unnatural Objects at the ICTY." A Cultural History of Law in the Modern Age. Eds. Celermajer, Danielle and Richard Sherwin. London: Bloomsbury, 2016.
"Dirty Pictures." Living Earth Field Notes from the Dark Ecology Project 2014-2016. Eds. Belina, Mirna and Arie Altena. Amsterdam: Sonic Acts, 2016.

“Slick Images: The Photogenic Surface of Disaster.” Allegory of the Cave Painting. Co-editors Mihnea Mirca &#38;amp; Vincent WJ van Gerven Oei. Extra City, Antwerp. Published by Mousse Milan,&#38;nbsp;2015. 
"Can the Sun Lie?" Forensis: The Architecture of Public Truth. Ed. Architecture, Forensic. Berlin: Sternberg, 2014. 56-64.
"Atmospheric Correction &#38;amp; The Politics of Remote Image Processing." On the Verge of Photography: Imaging Beyond Representation. Eds. Rubinstein, Daniel , Johnny Golding and Andrew Fisher. Birmingham: Birmingham Article Press 2013. 16-32.
"A Memorial in Exile in London’s Olympics: Orbits of Responsibility." Open Democracy  (2012).


TALKS

President’s Dream Colloquium on Creative EcologiesSimon Fraser University, Vancouver (2019)

Earth Evidence, Yale Norfolk School of Art (7 June 2019)
Crit Sessions, Garage Museum Moscow (2019)

Critical Ecologies, Goldsmiths University of London (2019)

SC Conversations, Evidence in 74 Million Million Million Tons (29 April 2018)
Dark Matters interview with Susan Schuppli by Lucas van der Velden &#38;amp; Rosa Menkman (2016)
Extreme Images, Central Saint Martins, 21st Century Photography (2015)
	

RESOURCES

Plaintiff to BP for nature's rights in Ecuador's constitutional court

Neimanis, Astrida. "No Representation without Colonisation? (Or, Nature Represents Itself)." Somatechnics 5.2 (2015): 135–53.
Sheikh, Shela. "The Future of the Witness: Nature, Race and More-than-Human Environmental Publics." Kronos 44 (2018): 145-62.

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RESEARCH</description>
		
	</item>
		
		
	<item>
		<title>TRIALS TRIBUNALS TRUTH COMMISSIONS</title>
				
		<link>https://susanschuppli.com/TRIALS-TRIBUNALS-TRUTH-COMMISSIONS</link>

		<pubDate>Mon, 14 Mar 2022 12:09:26 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/TRIALS-TRIBUNALS-TRUTH-COMMISSIONS</guid>

		<description>
	TRIALS, TRIBUNALS, TRUTH COMMISSIONS


	TRIALS, TRIBUNALS, TRUTH COMMISSIONS
	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT

	
	Arguments, or the rhetorical construction of truth about historical events, have always lain at the heart of legal trials. In this sense, it is not bare facts in themselves but how they can be assembled into a coherent and convincing narrative that provides the foundation for law’s findings on the truth. However, through the course of the twentieth century, the materials upon which arguments could be built have radically altered. This research sets out to explore mediated evidence, the role of scientific expertise, and the ways in which they combine to create new legal assemblages. 

At the same time it argues that the emergence of truth commissions and other transitional justice mechanisms provided alternate forums, which foregrounded the experience of affected communities, created spaces for considering oral traditions, cultural materials, and more-than-human witnesses as compelling evidence of historical wrongs, especially within settle-colonial contexts.

Explore the ICTY Court Records here︎︎︎


WRITING

Material Witness: Media, Forensics, Evidence (2020)

“Should Videos of Trees have Standing? An Inquiry into the Legal Rites of Unnatural Objects at the ICTY.” A Cultural History of Law in the Modern Age. Eds. Celermajer, Danielle and Richard Sherwin. London: Bloomsbury (2018)&#38;nbsp;

“Law and Disorder.” Realism Materialism Art. Ed. Christoph Cox, Jenny Jaskey, Suhail Malik. Berlin: Sternberg Press, (2015); 137-43. 
“Entering Evidence”, Forensis: The Architecture of Public Truth. Ed. Forensic Architecture, Berlin: Sternberg Press, (2014): 279-314. 
“A Memorial in Exile in London’s Olympics: Orbits of Responsibility.” Open Democracy&#38;nbsp; (2012).

EXHIBITIONS

The Architecture of Conflict, Vi Per Gallery, Prague (2018)

The Image of War, Bonniers Konsthall, Stockholm (2017-18)

Scenographies of Power, La Casa Encendida, Madrid, Spain&#38;nbsp;(2017)

Forensic Architecture: Towards an Investigative Aesthetics, MACBA, Barcelona (2017)

Evidence on Trial, See you in The Hague, Stroom Den Haag, NL (2014) 

Forensis, Haus Der Kulturen der Welt, Berlin, (March 2014)

No One Belongs Here More than You, 54th October Salon, Belgrade (2013)
RESOURCES

Sheikh, Shela. "The Future of the Witness: Nature, Race and More-than-Human Environmental Publics." Kronos 44 (2018): 145-62.
Razack, Sherene author. Dying from Improvement: Inquests and Inquiries into Indigenous Deaths in Custody. Toronto: Toronto University Press, 2015.

Forensis, Haus Der Kulturen der Welt, Berlin, March 2014.

Vismann, Cornelia. "Breaks in Language at the Nuremberg Trials." Rechenschaften. Ed. Braese, Stephan. Göttingen: Wallstein Verlag, 2014 (eng trans.)
Keenan, Thomas, and Eyal Weizman. Mengele’s Skull: The Advent of Forensic Aesthetics. Ed. Hirsch, Nikolaus. Frankfurt: Sternberg Press / Portikus, 2012.

Sherwin, Richard K. Visualizing Law in the Age of the Digital Baroque: Arabesques and Entanglements. London: Routledge, 2011.Vismann, Cornelia, and Geoffrey Winthrop-Young. Files: Law and Media Technology. Stanford: Stanford University Press, 2008.

Napoleon, Val. "Delgamuukw : A Legal Straightjacket for Oral Histories?" Canadian Journal of Law and Society 20.2 (2005): 123-55.


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Aspects of this research was conducted within the framework of Forensic Architecture / ERC. 

RESEARCH</description>
		
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	<item>
		<title>MATERIAL WITNESS</title>
				
		<link>https://susanschuppli.com/MATERIAL-WITNESS</link>

		<pubDate>Tue, 15 Mar 2022 15:34:22 +0000</pubDate>

		<dc:creator>SUSAN SCHUPPLI</dc:creator>

		<guid isPermaLink="true">https://susanschuppli.com/MATERIAL-WITNESS</guid>

		<description>
	MATERIAL WITNESS


	MATERIAL WITNESS
	RESEARCH&#38;nbsp; &#38;nbsp; WORKS&#38;nbsp; &#38;nbsp; WRITING&#38;nbsp; &#38;nbsp; ABOUT

	This research and my related MIT Press book and documentary film introduces a new operative concept—material witness—an exploration of the evidential role of matter as both registering external events as well as exposing the practices and procedures that enable such matter to bear witness. 

Material witnesses&#38;nbsp;are non-human entities and machinic ecologies that archive their complex interactions with the world, producing ontological transformations and informatic dispositions that can be forensically decoded and reassembled back into a history. Engaging, at the same time, with the institutional logics that structure their difference in order to expand acts of witnessing to more-than-human realms. 

As a conceptual imperative and practical project my aim is ultimately to relink the material world and its affordances with the space of the aesthetic, the juridical, and the political.


BOOK PROJECT

Material Witness: Media, Forensics, Evidence (2020)

EXHIBITIONS

The Image of War, Bonniers Konsthall, Stockholm (2017-18)

Forensic Architecture: Towards an Investigative Aesthetics, MACBA, Barcelona &#38;amp; MUAC, Mexico City (2017)

Forensis, Haus Der Kulturen der Welt, Berlin, (March 2014)
TALKS &#38;amp; WORKSHOPS

Landscape as Material Witness BEK workshop / Odda &#38;amp; Bondhus Glacier trek, Bergen (21-25 February 2022)

Witness Statements and Technologies of Memory, The Mosiac Rooms (2021)

Gallery of Modern Art, Glasgow (3 February 2018)

	
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&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/558dbad944524d776874ff887686f1de22c02942bde6a1d9ebf541c0289adc03/11_MW.jpg" data-mid="136701665" border="0"  src="https://freight.cargo.site/w/1000/i/558dbad944524d776874ff887686f1de22c02942bde6a1d9ebf541c0289adc03/11_MW.jpg" /&#62;


Aspects of this research was conducted with the funding support of Forensic Architecture.

RESEARCH</description>
		
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