My immense appreciation for these creative opportunities is owed to Anselm Franke, Ele Carpenter, Ruba Katrib, Rosario Güiraldes, Adam Kleinman, Natsha Hoare, Lucas van der Velden, Brigette van der Sande, Mihnea Mircan, James Parker, Joel Stern, Doreen Mende, Maite Borjabad López- Pastor, Kevin Muhlen, Berit Fischer, María Andueza Olmedo, Antonia Alampi, Theodor Ringborg, Remco De Blaaij, Mario D’Souza, Mila Samdub, Jayne Wilkinson, and Candice Hopkins. Curators have also played a key role in helping to bring the ideas of Material Witness into public presence, and many of the images that populate this book are drawn from these exhibitions and commissioned projects. van Wyck, Julian Henriques, Andrea Phillips, Peg Rawes, Brenna Bhandar, Irit Rogoff, Lindsay Bremner, Bridget Crone, Emily Rosamond, Wood Roberdeau, Rosalind Gray, Nicole Wolf, Jennifer Gabrys, Ryan Bishop, Jussi Parikka, Olga Goriunova, Marina Otero, Emily Pethick, Ariella Azoulay, Roma Sendyka, Antonia Majaca, Lonneke van der Velden, Danielle Celermajer, Paulo Tavares, Godofredo Pereira, Andrea Bagnato, Charles Heller, Fusun Turetken, Francesco Sebregondi, Lewis Bush, Adrian Lahoud, Jamon Van Den Hoek, Chris Woods, Christina Varvia, Sophie Dyer, Niels Schrader, Roosje Klap, Kirsty Robertson, Susan Edelstein, Lawrence Bekich, Gregory Sholette, and my MFA supervisor Geoffrey Batchen, this adventure would never have gotten off the ground. Moreover, without the energizing support of colleagues Lynn Turner, Lorenzo Pezzani, Matthew Fuller, Thomas Keenan, Vikki Bell, Suhail Malik, Laura Kurgan, Keller Easterling, Michel Feher, John O’Brian, Peter C. Small, Zach Blas, Metahaven, Susanne Kriemann, Anjalika Sagar, Patrick Mahon, Kathleen Ritter, Judy Radul, Michel Daigneault, Stephen Scoffield, Tom Tlalim, Helene Kazan, James Bridle, Broomberg & Chanarin, Milica Tomiċ, Ayesha Hameed, Jol Thomson, Cooking Sections, Helen Knowles, Daniel Mann, Terence Gower, Mohammad Salemy, Shaunak Sen, Emanuel Licha, Nabil Ahmed, Maayan Amir, Raviv Ganchrow, Kelly Jazvac, David Merritt, Rosa Menkman, Henry Bradley, Solveig Suess, Greg McLaren, Sean Synder, Nicholas Mangan, and the wonderful, sadly missed Colette Urban have all been part of its unfolding. Young, Lawrence Abu Hamdan, Kodwo Eshun, Daniel R. Kindred spirits and fellow artists Careyĭownloaded from by UCSB - University of California Santa Barbara user The slow burn of the project has benefited immeasurably from ongoing discussions with close friends and far-flung colleagues. Likewise Angela Melitopoulos, Celine Conderelli, Beatrice Gibson, and Ines Schaber were my doctoral allies in the Centre for Research Architecture when Material Witness was but a loose collection of conjectural ideas. James Burton, Joel McKim, Daisy Tam, Andy Christodoulou, Sean McKeown, and Theresa Mikuriya all figure strongly in this network of peers from our formative days together in the Centre for Cultural Studies. In particular, Shela Sheikh has been an encouraging and generous advocate of this project. I have drawn great momentum from our spirited debates.
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Many of my peers have since become my professional colleagues, both at Goldsmiths and further afield. Eyal has been a crucial figure throughout my intellectual journey, and I am forever grateful for his ongoing support, critical insights, and the considerable opportunities that have come my way as a consequence of our enduring friendship and the groundbreaking work of the Forensic Architecture agency. Never could I have imagined that our research trajectories would come together in such a consequential manner. I actually encountered Eyal’s work in the 2003 exhibition Territories at the KW Institute for Contemporary Art Berlin two years prior to our meeting at Goldsmiths.
Since that time the concept has gained considerable clarity and been shaped, in particular, by my creative practice as an artist-researcher and my investigative work with Forensic Architecture, especially during the period when I was Senior Research Fellow and Project Coordinator. I am indebted to their fierce intelligence, which both challenged and guided my research. As a concept, Material Witness emerged out of my dissertation project, supervised by Eyal Weizman and Luciana Parisi at Goldsmiths. Inspired by the practical and theoretical work of many colleagues, curators, students, and friends, it recognizes that such work is always inextricably collaborative. As with any extended project, this book is the consequence of innumerable discussions and engagements across domains and contexts.
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