Podcast appearances and mentions of susan schuppli

Susan Schuppli is Director of the Centre for Research Architecture in the Department of Visual Cultures at Goldsmiths, University of London. In her book, Material Witnesss, her research is an exploration of the evidential role of matter in contexts including the natural disaster, climate change, and conflict zones. In this interview she discusses her work as a writer, artist and educator. The evidential role of matter--when media records trace evidence of violence--explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica, Kosovo, used as war crimes evidence against Slobodan Milosevic; the telephonic transmission of an iconic photograph of a South Vietnamese girl fleeing an accidental napalm attack; radioactive contamination discovered in Canada's coastal waters five years after the accident at Fukushima Daiichi; and the ecological media or "disaster film" produced by the Deep Water Horizon oil spill in the Gulf of Mexico. Each highlights the degree to which a rearrangement of matter exposes the contingency of witnessing, raising questions about what can be known in relationship to that which is seen or sensed, about who or what is able to bestow meaning onto things, and about whose stories will be heeded or dismissed. An artist-researcher, Schuppli offers an analysis that merges her creative sensibility with a forensic imagination rich in technical detail. Her goal is to relink the material world and its affordances with the aesthetic, the juridical, and the political. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Susan Schuppli is Director of the Centre for Research Architecture in the Department of Visual Cultures at Goldsmiths, University of London. In her book, Material Witnesss, her research is an exploration of the evidential role of matter in contexts including the natural disaster, climate change, and conflict zones. In this interview she discusses her work as a writer, artist and educator. The evidential role of matter--when media records trace evidence of violence--explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica, Kosovo, used as war crimes evidence against Slobodan Milosevic; the telephonic transmission of an iconic photograph of a South Vietnamese girl fleeing an accidental napalm attack; radioactive contamination discovered in Canada's coastal waters five years after the accident at Fukushima Daiichi; and the ecological media or "disaster film" produced by the Deep Water Horizon oil spill in the Gulf of Mexico. Each highlights the degree to which a rearrangement of matter exposes the contingency of witnessing, raising questions about what can be known in relationship to that which is seen or sensed, about who or what is able to bestow meaning onto things, and about whose stories will be heeded or dismissed. An artist-researcher, Schuppli offers an analysis that merges her creative sensibility with a forensic imagination rich in technical detail. Her goal is to relink the material world and its affordances with the aesthetic, the juridical, and the political. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Susan Schuppli is Director of the Centre for Research Architecture in the Department of Visual Cultures at Goldsmiths, University of London. In her book, Material Witnesss, her research is an exploration of the evidential role of matter in contexts including the natural disaster, climate change, and conflict zones. In this interview she discusses her work as a writer, artist and educator. The evidential role of matter--when media records trace evidence of violence--explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica, Kosovo, used as war crimes evidence against Slobodan Milosevic; the telephonic transmission of an iconic photograph of a South Vietnamese girl fleeing an accidental napalm attack; radioactive contamination discovered in Canada's coastal waters five years after the accident at Fukushima Daiichi; and the ecological media or "disaster film" produced by the Deep Water Horizon oil spill in the Gulf of Mexico. Each highlights the degree to which a rearrangement of matter exposes the contingency of witnessing, raising questions about what can be known in relationship to that which is seen or sensed, about who or what is able to bestow meaning onto things, and about whose stories will be heeded or dismissed. An artist-researcher, Schuppli offers an analysis that merges her creative sensibility with a forensic imagination rich in technical detail. Her goal is to relink the material world and its affordances with the aesthetic, the juridical, and the political. Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest artist SUSAN SCHUPPLI joins art critic and author ELIZABETH FULLERTON to discuss her art practice via 'The Second Body' 2017 by Daisy Hildyard, published by Fitzcarraldo Books. Listed by the 'White Review' on their Books of the Year 2018, the essay presents the dissolving boundaries between all life on earth, with an updated dualism between the animal bodies in which we eat, breathe, and sleep and the virtual bodies of our global connections and environmental impacts. Susan and Elizabeth discuss dissolving boundaries, plausible deniability, beached whales, deep time, gathering poems, chattering glaciers, foetus ownership, critical proximity, living on ice, images creating barriers, Princess Diana's wedding dress, bodies eating distance, and changing paradigms. Plus, they question where environmental knowledge resides and which modes of representation might inspire action.   SUSAN SCHUPPLI susanschuppli.com @susan_schuppli 'Cruel Radiance' Backlight Festival, Finland  - June 2023 Art & Industry Triennial, Dunkerque France - June 2023 'Re/Sisters', Barbican London 5 Oct 2023 - 14 Jan 2024 LABoral Centro de Arte y Creación Industrial, Spain    'Material Witness' 'Can the Sun Lie'  'Cold Rights' 'Freezing Deaths' 'Weaponising Water' 'Icebox Detentions' 'Listening to the Ice' 2023   EVENTS   'Earthrise' is a photograph of Earth and some of the Moon 's surface that was taken from lunar orbit by astronaut William Anders on 24 December 24 1968 during the Apollo 8 mission.   Ultrasound was first used for clinical purposes in mid 1950s but not used widely in British and American hospitals till 1970s for foetus imaging. In April 1965, 'Life' put a photograph called Foetus 18 Weeks on its cover which caused a sensation. The issue became the fastest-selling copy in the magazine's entire history. The Keeling Curve is a graph of the accumulation of carbon dioxide in the earth's atmosphere based on continuous measurements taken at the Mauna Loa Observatory in Hawaii from 1958 to the present day.  BOOKS + THINKERS Christina Elizabeth Sharpe, American academic, Professor of English Literature and Black Studies at York University, Toronto, Canada Daisy Hildyard 'The Footprint's Story: Princess Diana's Jewels and Carbon' Orion magazine, Winter Issue 30 Nov 2022 Dr Adrian Lahoud, Dean of the School of Architecture, Royal College of Art Joseph Conrad Silvia Federici 'Caliban and the Witch: : Women, the Body and Primitive Accumulation' 2004 Sven Oskar Lindqvist 'Exterminate all the Brutes: One Man's Odyssey into the Heart of Darkness and the Origins of European Genocide' 2007 Sheila Watt-Cloutier 'The Right to Be Cold: One Woman's Story of Protecting Her Culture, the Arctic and the Whole Planet' 2015 Ursula K Le Guin 'The Carrier Bag Theory of Fiction' 1986 FILM + DIRECTORS Chantal Akerman 'Nostalgia for the Light' Patricio Guzmán, 2010 Stanley Kubrick '2001: A Space Odyssey' 1968 ORGANISATIONS Bergin Kunsthalle, Norway Berlin Biennale Forensic Architecture Goldsmiths University Sculpture Center, New York Toronto Biennial of Art

In the second episode of our new series on war and memory, we speak with founder of Forensic Architecture Eyal Weizman and academic Susan Schuppli on the role memory plays in testimony and witnessing. The discussion explores the different approaches to evidence in war crimes tribunals, starting with the Nuremburg trials of 1945, and explains how the contemporary work of Forensic Architecture is helping to unlock the hidden memories of the victims of state violence. Susan Schuppli is a researcher, documentary filmmaker, and artist based in the UK, whose work examines material evidence from war and conflict to environmental disaster and climate change. She is Director of the Centre for Research Architecture at Goldsmiths University as well as affiliate artist-researcher and Board Chair of Forensic Architecture and author of Material Witness, which is out on MIT Press.You can find out more on Susan's work here: https://susanschuppli.com/ Eyal Weizman is the founding director of Forensic Architecture and Professor of Spatial and Visual Cultures at Goldsmiths, University of London. The author of over 15 books, he has held positions in many universities worldwide including Princeton, ETH Zurich and the Academy of Fine Arts in Vienna. He is a member of the Technology Advisory Board of the International Criminal Court and the Centre for Investigative Journalism. In 2019 he was elected life fellow of the British Academy and appointed Member of the Order of the British Empire (MBE) in the 2020 New Year Honours for services to architecture.Follow the work of Forensic Architecture here: https://forensic-architecture.org/ We would also like to thank Jacob over at Liverpool Podcast Studios.Music by Esion Noise [www.esionnoise.com] Support the show (https://www.forceswatch.net/support-our-work)

Susan Schuppli is Director of the Centre for Research Architecture in the Department of Visual Cultures at Goldsmiths, University of London. In her book, Material Witnesss, her research is an exploration of the evidential role of matter in contexts including the natural disaster, climate change, and conflict zones. In this interview she discusses her work as a writer, artist and educator. 

The artist Susan Schuppli speaks with curator Lorna Brown about her work "Nature Represents Itself" (2018) in the Morris and Helen Belkin Art Gallery's Exhibition Spill. This episode includes a selection of Schuppli's audio from the work, which is based on a lawsuit filed against BP by nature under the principle of universal jurisdiction in Quito, Ecuador on the 26th of November 2010. 

Magazyn "NN6T" prezentuje: Przy naszym udziale w środowisku przyrodniczym dokonują się nieodwracalne zniszczenia – czytamy w opisie podwójnej wystawy pod wspólnym tytułem "Plastyczność planety". Bezludzka Ziemia i Centrum Natury Współczesnej zespołu badawczego Forensic Architecture to dwa spojrzenia na konsekwencje działań człowieka i nieodwracalne zmiany, które powodują w środowisku. O tym jakie rezultaty daje podejście naukowe sprzęgnięte z praktykami z pola sztuk wizualnych rozmawiamy z kuratorem ekspozycji Jarosławem Lubiakiem, który oprowadza nas po wystawie. Rozmowę przeprowadziła Bogna Świątkowska, www.nn6t.pl Montaż: Ola Łapkiewicz W archiwum NN6T polecamy rozmowę o Forensic Architecture: http://www.old.beczmiana.pl/teksty.php?id=291 –> w 2013 r. z Susan Schuppli rozmawiał Krzysztof Gutfrański Wystawy można oglądać w Centrum Sztuki Współczesnej Zamek Ujazdowski w Warszawie do września 2019. Ilustracja: Monika Zawadzki, w ramach wystawy Bezludzka ziemia: https://u-jazdowski.pl/wydarzenia/podwojne-otwarcie-wystaw-bezludzka-ziemia-oraz-forensic-architecture-centrum-natury-

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