Visible Evidence, the annual scholarly conference on documentary film, media, culture and politics. Visible Evidence 21, as is traditional, will feature a range of panels, workshops, plenary sessions, screenings and special events around documentary, its practices, histories and theories.

Decolonising Architecture: Interventions in the Field of Vision ‘The Morning After’ with Sandi Hilal and Alessandro Petti
Saturday, December 13

Venue: School of Arts and Aesthetics Auditorium, Jawaharlal Nehru University Time: 7pm

Using their recent publication, Architecture after Revolution (Sternberg Press, Berlin 2014), as a structuring device for their presentation, Sandi Hilal and Alessandro Petti will share a set of architectural fables from the unfolding struggle for Palestine. Their proposals are future speculations about the seemingly impossible, the actual transformation of the very structures of domination. At times these involve ‘cinematic’ interventions that organize the field of vision.


Incontro con Peter Schneider, Alessandro Petti e Seba Kurtis al MAXXI di Roma


Open Museum, Open City
29 November, 17.30

MAXXI National Museum of XXI Century Arts
Via Guido Reni 4A – 00196 Rome

L’approccio speculativo dello scrittore, quello operativo dell’architetto, quello intimo del fotografo sono punti di vista per guardare al fenomeno prolificante della crescita di muri – fisici, emotivi, politici, sociali – che segnano e disegnano i confini del mondo in cui viviamo.

A testimonianza di un muro caduto lo scrittore tedesco Peter Schneider, autore di romanzi come Il saltatore del Muro (1982), del saggio Dopo il muro: i volti della nuova Germania(1992) e del più recente Berlin Now: The City After the Wall (2014), che ha indagato i cambiamenti della città di Berlino dal punto di vista sociale, politico e artistico negli ultimi decenni.

Di luoghi dilaniati da contrasti e muri di incomunicabilità parlerà anche Alessandro Petti, Direttore dello studio DAAR Decolonizing Architecture Art Residency con sede in Palestina che opera in Medioriente con progetti che nascono dalla lettura e dalla “decolonizzazione” dei luoghi, spesso macerie, duramente colpiti dai conflitti.

Peter Schneider, Alessandro Petti e Seba Kurtis
Modera Francesca Fabiani


Alessandro Petti and Sandi Hilal at the New School, NYC – Nov 17th at 6pm



Public square, Fawwar Refugee Camp, Hebron, West Bank. Photo by Adam Ferguson

The Zolberg Institute on Migration and Mobility hosts a lecture by Alessandro Petti and Sandi Hilal entitled “Spatial Ordering of Exile: The Architecture of Palestinian Refugee Camps.”

The lecture is followed by a roundtable discussion with Ilana Feldman (Associate Professor of Anthropology, History and International Affairs at George Washington University), Carin Kuoni (Director of Vera List Center for Art and Politics at The New School for Public Engagement) and Ann Stoler (Professor of Anthropology at The New School for Social Research).

The event is part of the Zolberg Institute on Migration and Mobility 2014-15 Lecture Series “Rethinking Refugee Spaces: Architecture, Design, and Politics” and is co-sponsored by the Global Studies Program, The New School for Social Research, Vera List Center for Art and Politic and Bard College.

Monday November 17th 2014 at 6pm
Orozco Room (A712)
66 West 12th street New York NY

OPEN CALL: DAAR residency 2014/15


Winter Residency – (01 November 2014 – 31 January 2015)
Spring Residency – (01 March 2015 – 31 May 2015)

DAAR is glad to announce an open call for architects, artists and cultural practitioners interested in exploring the intersection between space and politics in one of the world’s most conflict-charged areas. By joining the DAAR team this year, the participant will be invited to explore the concept of “exile”. Rather than seeing exile as a state of postponements – delaying actions until a particular time is fulfilled ¬– it will be considered as an operational tool for actions taking place in the present are and able to transgress borders and forced dislocation. DAAR/studio in exile seeks to mobilize exile as an architectural and political concept. Architecture is produced by the interaction of three basic elements: site, social context and the architect. Exile – the forced distance between communities, architects, and buildings – is a prevalent condition within rapidly transforming contemporary Southeastern Mediterranean countries and is challenging this triangle of local relations.

The resident should be able to work in extreme and difficult situations and with limited resources, handle frustration linked to a military occupation, have team spirit while being able to work alone with a high degree of self-initiative. Good proficiency in both written and spoken English is necessary, Arabic is an asset as are familiarity with the Palestinian context and contemporary discourses on Palestinian refugees, high motivation and personal identification with DAAR’s projects and approach.

The resident will be offered a studio and residency at DAAR in Beit Sahour (Bethlehem, Palestinian Territories) for a period of 3 months (beginning November 1st or February 1st). Working days: from Monday to Friday (10am to 6pm). The resident will enjoy weekly lectures and seminars, walks, field trips and collective meals.

Interested candidates are invited to submit a CV and cover letter, both in English, explaining their motivation in wishing to join DAAR residencies. Please forward the application and CV as soon as possible to before the beginning of the Winter Residency – (01 November 2014 – 31 January 2015) or before the beginning of the Spring Residency – (01 March 2015 – 31 May 2015).

In collaboration with Foundation for Art Initiatives, British Council, Delfina Foundation

DAAR/studio in exile: 01 PRESENT RETURNS

London, Delfina Foundation
Wednesday 2 July 2014, 10.00 – 12.00

Participants: Alessandro Petti, Sandi Hilal, Eyal Weizman, Ismail Shek Hassan, Muhammed Jabali, Shourideh Molavi, Gautam Bhan, Ruba Saleh, Umar al-Ghubari.

Return is a political act that is both practiced at present and projected as an image into an uncertain future. But return cannot be understood only as the suspended politics of an ideological projection, but also as a varied form of politics constantly practiced, grounding a future ideal in present day material realities. This represents a varied set of practices and spatial interventions that we would like to call “present returns”. The concept of present returns grounds the right of return in daily material practices. Traditionally, the return is understood as a coming back to one’s places of origin and one’s property. However, during the sixty-six years of exile, conditions have changed not only in the cities, towns, and villages that were cleansed but also in the places of refuge, where a new political culture has gradually started to articulate itself. The return poses both a challenge and a promise that are far in excess of the mere reversal of time. It is the most necessary move in the implementation of decolonization because the notion of returns demands the complete reorganization of modes of property ownership and the relation between multiple polities and territory.

Returns will have a simultaneous material effect in both the sites of origin and the sites of displacement. The result might be a reciprocal extraterritoriality that connects the two sites into a single dislocated site. This project seeks thus to chart out and intervene within a wider field of possible political, social and cultural practices of returns.

The right of return is the right to the urban, to a condition of heterogeneity and multiplicity that may already distinguish the sites of origin. Furthermore, the right of return challenges the structure of property rights and means that new forms of co-habitation will need to be developed. But the returns of Palestinian refugees will not only demand a radical change in and to Israel/Palestine, they will also affect the transformation of cities across the entire region. There are millions of refugees across the region already undergoing revolts and massive transformations, mainly on the outskirts of the now burning conurbations of Aleppo, Damascus, Beirut, and Amman. The emergence of refugees as a diffused polity might help us to rethink today’s struggles not from the point of view of national liberation, but from that of a continued profanation and decolonization of state borders.

DAAR/studio in exile (2014/15)


A year ago, we gave to ourselves to chance to take a sabbatical year to mark out the 7 years of our collaboration and DAAR production. Thanks to the support from the Foundation for Art Initiatives, we finally had the chance to systematize scattered texts written in occasion of exhibitions in a coherent structure of a book. This gave us a sense of conclusion and a new possible beginning.

At the moment that “Architecture after Revolution” will leave its on life, we are preparing ourselves for a new beginning. One central characteristic of DAAR has been the possibility to create a group formed by people that “can not be together”. We profaned national borders and religious affiliations. In the coming years we want to continue and accelerate this “profane collaborations”. For this reason we decide to set up a studio in exile, that will work as a twin with the architectural studio and art residency in Beit Sahour. By having a studio in exile we will have the possibility to work and gather people that could not otherwise be together due the political situation in Palestine. The work will be organized around two winters residency (in Beit Sahour) and a summer residency (in London and other locations).


DAAR/studio in exile aims at creating an intellectual and physical space that allowed architects, artists and researchers from Palestine, Lebanon, Syria, Jordan and Libya to undertake common projects in sites inaccessible to some of the group’s members. Providing a network of relations and sites throughout the South-eastern Mediterranean, the “studio in exile” will undo the local relation between architect and site, between social communities and building, and between a building and its context. This will be articulated by looking at and working with diasporic communities, Palestinian and others, in establishing a remote set of relations.

Architecture is produced by the interaction of three basic elements: site, social context and the architect. DAAR/studio in exile seeks to challenge this triangle of local relations by mobilizing “exile” as an architectural and political concept. Exile – that is forced distance between communities, architects, and buildings — is a prevalent condition within fast transforming contemporary South-eastern Mediterranean countries, where an increased number of people are forced to live far from their social, cultural and political context. In DAAR/studio in exile we consider exile, rather than being a state of postponements –delaying actions until a particular time is fulfilled — we consider it as an operational tool for actions that take place into the present able to transgress borders and forced dislocation.

The model for turning exile into an operation context come from DAAR’s long term relation and work with displaced and dispersed Palestinian refugee communities. These communities have no access to the site most important to their political identity – the site of their origins – and are further dispersed between different countries with no immediate access between them. The architecture in exile built in refugee camps was always thought as a bridge to site. In DAARs projects – we used exile as a political concept to connect between refugee groups, themselves and between them and the inaccessible site. Other models for political action at a distance are grounded in DAAR’s long-term analysis of parliaments in exile, and its experience with working remotely in an architectural studio.


One of the location of the studio in exile will take place in London (the place where many governments in exile took place), because it is a neutral ground for people coming from Palestine and elsewhere. During summers – we plan to organize a summer school — as already experimented with in DAAR/Beit Sahour. During two months in July and August it will include lectures, seminars and workshop. The pilot projects for this year and for only two weeks will include architects from Palestine, Jordan, Lebanon, and Libya.
After the initiation of project during the summer, two winter programs – located in Beit Sahour– will implements ideas discussed and proposed during the summer. A yearlong program will culminate back in London with a public forum and an exhibition.

Summer residency at Delfina in London

(24 of June – 7 of July)
Participants: Alessandro Petti, Sandi Hilal, Eyal Weizman, Ismae’l Sheikh Hassan, Muhammed Jabali, Umar al-Ghubari, Shourideh Molavi, Gautam Bham, Ruba Saleh.

Winter Residencies – Studio based program in Beit Sahour

(1 November 2014 – 15 June 2015)

Two winters programs open to ten artists and architects (1 November 2014 – 1 Feb 2015; 1 Feb- 15 June-2015) Open call for the residencies will be published soon.

Summer residency at Delfina in London and other locations

(1 July – 31 August – 2015)

End of the first year cycle and beginning of new investigations.

In collaboration with Foundation for Art Initiatives, British Council, Delfina Foundation

Book presentation in Venice


Wednesday 4th June

“Architecture after Revolution”


S.a.L.E.-Docks, Dorsoduro 265, Venice

In occasion of the publication of their book “Architecture after Revolution” (Sternberg Press, Berlin 2013), members of DAAR (Decolonizing Architecture Art Residency) Alessandro Petti, Sandi Hilal and Eyal Weizman will conduct a workshop on Al Masha as a possibility to re-articulate the relation of common and public spaces in Palestine in relation and beyond the events and places of the Arab revolts. This panel brings together architects, artists, activist and researchers to discuss the the role of common spaces today in the struggle of justice and equality. In the second part, in occasion of the presentation of the installation of “Italian ghosts” at the Venice architecture Biennale, DAAR will use colonial modernist architectures as point of departure in order to start a public discussion on colonization, decolonization and revolution in Libya. The workshop will explore the afterlife of Italian colonial architecture, its embarrassing beauty and its implications with crimes committed during the Italian occupation, its role in the construction of Italian identity and its ongoing influence and legacy.

Architecture after Revolution in London


Curator and art critic, Okwui Enwezor, and historian and political scientist Ilan Pappe join DAAR (Decolonizing Architecture Art Residency) members in conversation to mark the publication of their book Architecture after Revolution (Sternberg Press, Berlin 2013).

This panel brings together an international line up of speakers who will touch on issues such as what decolonization is today, what role architecture can play in transforming decolonisation processes, and how political subjectivity should be re-thought from the vantage point of the displaced and extraterritorial refugee.

Professor Pappé obtained his BA degree from the Hebrew University in Jerusalem in 1979 and the D. Phil from the University of Oxford in 1984. He founded and directed the Academic Institute for Peace in Givat Haviva, Israel between 1992 to 2000 and was the Chair of the Emil Tuma Institute for Palestine Studies in Haifa between 2000 and 2006. Professor Pappé was a senior lecturer in the department of Middle Eastern History and the Department of Political Science in Haifa University, Israel between 1984 and 2006. He was appointed as chair in the department of History in the Cornwall Campus, 2007-2009 and became a fellow of the IAIS in 2010. His research focuses on the modern Middle East and in particular the history of Israel and Palestine. He has also written on multiculturalism, Critical Discourse Analysis and on Power and Knowledge in general.

Okwui Enwezor is a curator, art critic, editor and writer, since 2011 he has been the Director of the Haus der Kunst in Munich. He was Artistic Director of the 2nd Johannesburg Biennale in South Africa (1996-1998), documenta 11 in Germany (1998-2002), Bienal Internacional de Arte Contemporáneo de Sevilla in Spain (2005-2007), 7th Gwangju Biennale in South Korea (2008) and the Triennal d’Art Contemporain of Paris at the Palais de Tokyo (2012). Enwezor’s wide-ranging practice spans the world of international exhibitions, museums, academia, and publishing. He is interested in African, European, Asiatic, North and South American art of the 20th and 21st Century, in modern and contemporary art of the African countries and the contemporary art of the African diaspora. Enwezor’s research includes video and photography, archives theory, photographic documentation, photojournalism and museums history. He also studies theories on diasporas and migrations, of post-colonial modernism and the architecture and urbanism of postcolonial African cities.

In collaboration with Delfina Foundation

Book here

Architecture after Revolution, now Printed!

Posted: 04.12.2013


The work presented in this book is an invitation to undertake an urgent architectural and political thought experiment: to rethink today’s struggles for justice and equality not only from the histor­ical perspective of revolution, but also from that of a continued struggle for decolonization; consequently, to rethink the problem of political subjectivity not from the point of view of a Western conception of a liberal citizen but rather from that of the displaced and extraterritorial refugee. You will not find here descriptions of popular uprising, armed resistance, or political negotiations, despite these of course forming an integral and necessary part of any radical political transformation. Instead, the authors present a series of provocative projects that try to imagine “the morning after revolution.”

Located on the edge of the desert in the town of Beit Sahour in Palestine, the architectural collective Decolonizing Architecture Art Residency (DAAR) has since 2007 combined discourse, spatial intervention, collective learning, public meetings, and legal chal­lenges to open an arena for speculating about the seemingly impossible: the actual transformation of Israel’s physical structures of domination. Against an architectural history of decolonization that sought to reuse colonial architecture for the same purpose for which it was originally built, DAAR sees opportunities in a set of playful propositions for the subversion, reuse, profanation, and recycling of these structures of domination and the legal infrastructures that sustain them.

DAAR’s projects should be understood as a series of architectu­ral fables set in different locations: an abandoned military base near Beit Sahour, the refugee camp of Dheisheh in Bethlehem, the remnants of three houses on the Jaffa beach, the uncom­pleted Palestinian Parliament building, the historical village of Battir, the village of Miska destroyed during the Nakba, and the red-­roofed West Bank colony of Jabel Tawil (P’sagot) next to Ramallah-­El Bireh.,month%20DESC