Art Lovers Movie Club: Forensic Oceanography, ‘Liquid Traces – The Left-to-die Boat Case’

Welcome to the Art Lovers Movie Club, where you’ll find a selection of artist videos available exclusively online at artreview.com.

‘How to reconstruct the violations, when the weapon of the crime is the water itself?’ This video offers a summary of the case ‘The boat left for dead’. In March 2011, 72 passengers left the Libyan coast for Italy aboard a small dinghy during NATO’s military intervention in Libya. Despite several distress signals relaying their position, as well as repeated interactions with at least one military helicopter and one military ship, they were left adrift for 14 days. Due to the inaction of all state actors involved, only nine of the passengers survived. By combining their testimonies with data on the winds and sea currents as well as satellite images, Forensic Oceanography reconstructed the liquid traces of this event, producing a report which served as the basis for several legal complaints.

About Forensic Oceanography

Lorenzo Pezzani is an architect and researcher. In 2015, he completed a PhD in Research Architecture at Goldsmiths, University of London, where he is currently a lecturer and runs the Masters in Forensic Architecture studio. Her work deals with the spatial politics and visual cultures of migration with a particular focus on the geography of the ocean.

Charles Heller is a researcher and filmmaker whose work has long focused on migration policy. In 2015 he completed a PhD in Research Architecture at Goldsmiths, University of London, focusing on mobility policies across the Mediterranean Sea. He is a research fellow at the Graduate Institute of International and Development Studies in Geneva.

Working together since 2011, Heller and Pezzani co-founded Forensic Oceanography, a collaborative project that developed innovative methodologies to document the conditions that lead to migrant deaths at sea. governments to exercise a critical right of scrutiny over the EU’s maritime border. They have authored a number of human rights reports, each of which has developed cutting-edge forensic mapping and visualization methods, which have had a major impact both in academia, non-governmental policy and the public sphere, and have been used as evidence in court. law.

Screening dates:
Forensic Oceanography, Liquid Traces – The Case of the Boat Left for Dead (2014): February 9 – March 2, 2022

Project team: Charles Heller, Lorenzo Pezzani, Richard Limeburner, Samaneh Moafi, Rossana Padeletti

Realized within the framework of Forensic Architecture with the support of the House of World Cultures (HKW).

Previous Art Lovers Movie Club films include Luis Roque Paradise, screened from March 18 to 25, 2020; Wong Ping an emo nose (2015), screened March 26-31, 2020; by Laure Prouvost shed a light (2018), screened from April 2 to 9, 2020; Alex Da Corte TRUƎ LIFƎ and BAD GROUND (2017), screened from April 9 to 15, 2020; Stine Deja’s 4KZEN (2017), screened from April 17 to 23, 2020; Daniel Steegmann Mangrané’s fog dog, screened from April 24 to 30, 2020; Ivens Machado Vs (1974), screened May 11-19, 2020; by Roger Hiorns BENIGN (2005), screened May 15–21, 2020; At Jennet Thomas CONDENSED ANIMAL>>EXTENDED ANIMAL#2 (2018), screened June 5–12, 2020; by Larry Achiampong The eviction (2019), screened June 12–22, 2020; by Shezad Dawood Leviathan Cycle (2017-2018), screened from May 21 to June 26, 2020; at Heman Chong Changi Airport Terminal 3 (Singapore Breaker Day 10, April 16, 2020) 4K 60 Binaural Walk 263 (2020), screened from June 26 to July 3, 2020; Berwick Street Film Collective night cleaners (1975), screened July 3–17, 2020; Chez Tuan Andrew Nguyen We were lost in our country (2019), screened July 17–31, 2020; Grace Schwindt, Only a free individual can create a free society (2014), screened 7August 21, 2020; Hayoun Kwon, 489 years (2016), screened from October 2 to 16, 2020; Tulapop Saenjaroen, Sunday people (2019), screened from October 16 to November 2, 2020; Grada Kilomba, A world of illusions (2017-2019), screened from November 4 to 25, 2020; Shen Xin, Taunt a Nightingale #1 (2017), screened from January 15 to February 8, 2021; Charwei Tsai, Hear her sing (2017), screened from February 8 to March 1, 2021; Gelare Khoshgozaran, Medina Wasl: communicating city (2018) and The men of my dreams (2020), screened March 2–23, 2021; Lu Yang, Crazy Mandala (2015), Delusional crime and punishment (2016) and crazy world (2020), screened from March 24 to April 14, 2021; Xiaowen Zhu, oriental silk (2015), screened from April 23 to May 14, 2021; Ali Ali, mahjar (2020), screened from May 20 to June 10, 2021; Chris Zhongtian Yuan Wuhan Punk (2020), screened from June 11 to July 2, 2021; Alberta Whittle, HOLDING THE LINE: a chorus in two parts (2021), screened from June 18 to July 17, 2021; Maya Schweizer, Clemens von Wedemeyer, Metropolis. China report (2004-06), screened from July 13 to August 3, 2021; Chem↑Pom, black of death (2013), screened from August 17 to September 7, 2021; Richard Fung, Dirty laundry (1996): screened September 8–30, 2021; Clarisse Tossin Ch’u Mayaa (2017): Screened October 1–22, 2021; Anand Patwardhan, Images you haven’t seen (2006): screened from October 22 to November 12, 2021; Shannon Te Ao, What was or could be today (again) (2019): screened from November 12 to December 3, 2021.

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