18 October 2018–27 January 2019

Forensic Justice

An exhibition and public program with Forensic Architecture

Opening: 18 October 2018, 18.00

  • The project file for the investigation of the murder of Pavlos Fyssas, a young Greek rapper who was killed by Golden Dawn (September 2013), consists of a synchronized mosaic of the audio and video material that was included in the court files. The patterns emerging within the file structure mirror the movement of actors within the scene as well as the visual and aural clues used for the synchronization.

Opening times

Thu 18 Oct 2018
Fri 19 Oct 2018
Sat 20 Oct 2018
Sun 21 Oct 2018
Wed 24 Oct 2018
Thu 25 Oct 2018
Fri 26 Oct 2018
Sat 27 Oct 2018
Sun 28 Oct 2018
Wed 31 Oct 2018
Thu 1 Nov 2018
Fri 2 Nov 2018
Sat 3 Nov 2018
Sun 4 Nov 2018
Wed 7 Nov 2018
Thu 8 Nov 2018
Fri 9 Nov 2018
Sat 10 Nov 2018
Sun 11 Nov 2018
Wed 14 Nov 2018
Thu 15 Nov 2018
Fri 16 Nov 2018
Sat 17 Nov 2018
Sun 18 Nov 2018
Wed 21 Nov 2018
Thu 22 Nov 2018
Fri 23 Nov 2018
Sat 24 Nov 2018
Sun 25 Nov 2018
Wed 28 Nov 2018
Thu 29 Nov 2018
Fri 30 Nov 2018
Sat 1 Dec 2018
Sun 2 Dec 2018
Wed 5 Dec 2018
Thu 6 Dec 2018
Fri 7 Dec 2018
Sat 8 Dec 2018
Sun 9 Dec 2018
Wed 12 Dec 2018
Thu 13 Dec 2018
Fri 14 Dec 2018
Sat 15 Dec 2018
Sun 16 Dec 2018
Wed 19 Dec 2018
Thu 20 Dec 2018
Fri 21 Dec 2018
Sat 22 Dec 2018
Sun 23 Dec 2018
Wed 26 Dec 2018
Thu 27 Dec 2018
Fri 28 Dec 2018
Sat 29 Dec 2018
Sun 30 Dec 2018
Wed 2 Jan 2019
Thu 3 Jan 2019
Fri 4 Jan 2019
Sat 5 Jan 2019
Sun 6 Jan 2019
Wed 9 Jan 2019
Thu 10 Jan 2019
Fri 11 Jan 2019
Sat 12 Jan 2019
Sun 13 Jan 2019
Wed 16 Jan 2019
Thu 17 Jan 2019
Fri 18 Jan 2019
Sat 19 Jan 2019
Sun 20 Jan 2019
Wed 23 Jan 2019
Thu 24 Jan 2019
Fri 25 Jan 2019
Sat 26 Jan 2019
Sun 27 Jan 2019

Please note: registration for the lecture by Eyal Weizman and Christina Varvia on the occassion of the opening on 18 October 2018 is closed. You are welcome to visit the exhibition on this evening. 

From October 18, 2018 till January 27, 2019, BAK, basis voor actuele kunst in Utrecht presents Forensic Justice, an exhibition and a series of public programs with Forensic Architecture. On the occasion of the opening, Eyal Weizman (architect, researcher, and Director of Forensic Architecture, London) and Christina Varvia (architect, researcher, and Deputy Director of Forensic Architecture, London) give a lecture on the agency’s forensic practice.

Forensic Architecture, a London-based independent and interdisciplinary research agency comprised of, among others, artists, scientists, lawyers, filmmakers, and architects uses novel research and aesthetico-political practice to investigate abuses of human rights and, more broadly, the rights of nature. They provide critical evidence for international courts and work with a wide range of citizen-led activist groups, NGOs, Amnesty International, and the United Nations, as well as with art institutions as significant public forums for distributing the investigations.

The exhibition Forensic Justice features a number of tactical forensic reclamations of social and ecological justice. Articulating evidence-based counter-narratives to dominant interpretations of investigated events, the installations mobilize what Forensic Architecture refers to as “public truth.” These mobilizations, as the exhibition proposes, can be understood as critical instances of “forensic justice.”

The exhibition involves two main narratives, entwining the 20th century horrors of genocide with its contemporary extension into environmental catastrophes.

The former is presented in an archive-like set-up of a number of investigated cases of varying scales: from an individual (The Killing of Nadeem Nawara and Mohammed Abu Daher, 2014), to a building (M2 Hospital Bombing, 2017), a city (The Bombing of Rafah, Gaza, Palestine, 1 August 2014, 2015), and, finally, the vastness of a sea (The Iuventa, 2018), accentuated by two further works: 77sqm_9:26min, 2017, an investigation into the racist killings of immigrants in Germany in 2000–2007, and Investigation into the Murder of Pavlos Fyssas, 2018. This recent investigation inquires into the complicity of police troops in the assassination of the young Greek rapper Fyssas, murdered in 2013 by members of the para-military political movement Golden Dawn. After having been presented as crucial evidence in court in Greece this September, this piece, co-produced with BAK, is now presented to the public for the first time.

The second narrative line unfolds in a Center for Contemporary Nature (CCN), which engages with the relation between culture, politics, and the concept of nature today. No longer a “backdrop” against which the human history unfolds, “nature” now transforms at the same speed as human history, racing alongside it in an ever-aggravated feedback loop with consequences that have spiralled out of control. This entanglement, which Forensic Architecture refers to as “contemporary nature,” is explored in two cases. Ecocide in Indonesia, 2017, highlights the contemporary calamity that involves both human and environmental disasters, leading to mass casualties and an irreversible destruction of the living habitat. Ape Law, 2016, looks into human-induced environmental violence on other species. Throughout history, the orangutans have been threshold figures between humans and nature, and are currently at the frontiers of debates regarding the future of laws and rights.

On a near bi-weekly basis, the public program Propositions #7: Evidentiary Methods takes place to examine and expand upon the notions of “evidence” and “method” in the practice of Forensic Architecture in a series of lectures, screenings, and workshops, co-curated by Nick Axel (architectural theorist and researcher, Amsterdam). The series includes contributions by Ariel Caine (Forensic Architecture, London); Gamze Hızlı and Özlem Zingil (Hafiza Merkezi [Truth Justice Memory Center], Istanbul; Lisa Ito (Concerned Artists of the Philippines, Manila); Stefan Laxness (Forensic Architecture, London); Stefanos Levidis (Forensic Architecture, London); Samaneh Moafi (Forensic Architecture, London); Simone Rowat (Forensic Architecture, London); Natascha Sadr Haghighian (People’s Tribunal “Unraveling the NSU Complex” and Initiative 6 April, Kassel); and Jo van der Spek (Migrant 2 Migrant Foundation, Amsterdam).

Forensic Architecture is nominated for the Turner Prize 2018. Earlier in 2018, the collective was awarded the Princess Margriet Award for Culture by the European Culture Foundation, Amsterdam. The lecture by Eyal Weizman and Christina Varvia taking place at the opening of the exhibition Forensic Justice has been organized in collaboration with the European Cultural Foundation, as part of their program highlighting the work of the 2018 laureates.


The project is part of the BAK research series Propositions for Non-Fascist Living (2017–2020).


BAK’s main partner in the field of education and research is HKU University of the Arts Utrecht, Utrecht.

BAK’s activities have been made possible by the Dutch Ministry of Education, Culture, and Science and the City Council, Utrecht.

In collaboration with

Made possible by

Suggestions from the archive


18 October 2018–24 January 2019

Propositions #7: Evidentiary Methods

Propositions #7: Evidentiary Methods—the public program in the context of the exhibition Forensic Justice and part of the BAK series Propositions for Non-Fascist Living (2017–2020)—expands upon the notion of forensic justice in a series of lectures, screenings, and workshops on methodologies for articulating claims within the multidimensional space of aesthetics, law, architecture, politics, and ecology.








Lecture Program

Discursive, Exhibition, Publication

11 January–01 March 2009

The Return of Religion and Other Myths

The Return of Religion and Other Myths is a large-scale multifaceted project, consisting of the exhibition The Art of Iconoclasm, a discourse program taking place in early 2009 titled On Post-Secularism, and the publication of a BAK Critical Reader on the subject in 2009. The project explores the popular assumption of the return of religion to the public sphere, contemporary politics, and the media in the West as a constitutive “myth.”



10 February–31 March 2009

Curating (Beyond) Exhibitions: Critical Curatorial Practices and Contemporary Society

Master course organized by Utrecht University and BAK. The course, structured as a series of lectures and seminars, explores the dynamic field of curating vis-ŕ-vis the challenges that artistic and intellectual practices are presented with by contemporary society, and takes the year 1989—which marks the end of the Cold War—as a starting point from which to explore the practice of curating.