Before & After : The Architecture of Disaster

Eyal Weizman

ISBN 10: 3035807841 / ISBN 13: 9783035807844

Published by Diaphanes Verlag Jun 2025, 2025

About this Item

Neuware - Catastrophes, bombed-out cities, large-scale political transformations: 'Image complexes' of humanitarian and ecological upheaval document the world as a sequence of catastrophes. But who decides how events are presented, determines the resolution of our visual worlds and controls the circulation or censorship of images Eyal and Ines Weizman trace the history of the before-and-after image from 19th-century photography to contemporary satellite images and discover a gap that not only conceals the devastating event: it is the human subject itself that is in danger of disappearing from the images. Do humanitarian work, the documentation and reconstruction of war crimes, in which people's fates and rights should be at the center of attention, paradoxically enter a post-human phase How can the gap between images become a site of critical counter-reading rather than a symbol of erasure In the context of their current research, Eyal and Ines Weizman discuss the history, present and future of the paradigm of the before-and-after image in an exclusive conversation with Marie Glassl.

Seller Inventory # 9783035807844

Bibliographic Details

• Title: Before & After : The Architecture of Disaster
• Publisher: Diaphanes Verlag Jun 2025
• Publication Date: 2025
• Language: English
• ISBN 10: 3035807841
• ISBN 13: 9783035807844
• Binding: Taschenbuch
• Condition: Neu
• Dimensions: 190W x 120H x 0D millimeters 190 millimeters width by 120 millimeters height by 0 millimeters depth
• Weight: 125 grams

About this title

Synopsis

A study of the history of before-and-after images of catastrophes, bombed-out cities, and large-scale political transformations.

Catastrophes, bombed-out cities, large-scale political transformations: “Image complexes” of humanitarian and ecological upheaval document the world as a sequence of catastrophes. But who decides how events are presented, determines the resolution of our visual worlds, and controls the circulation or censorship of images?

Eyal and Ines Weizman trace the history of the before-and-after image from nineteenth-century photography to contemporary satellite images and discover a gap that not only conceals the devastating event: it is the human subject itself that is in danger of disappearing from the images. Does humanitarian work, the documentation and reconstruction of war crimes, in which people’s fates and rights should be at the center of attention, paradoxically enter a post-human phase? How can the gap between images become a site of critical counter-reading rather than a symbol of erasure?

In the context of their current research, Eyal and Ines Weizman discuss the history, present, and future of the paradigm of the before-and-after image in an exclusive conversation with Marie Glassl.

About the Authors

Eyal Weizman is the founder and director of Forensic Architecture and professor of Spatial and Visual Cultures at Goldsmiths, University of London, where in 2005 he founded the Centre for Research Architecture. In 2007, with Sandi Hilal and Alessandro Petti, he established the architectural collective DAAR in Beit Sahour/Palestine. He is the author of numerous books and has held positions in universities worldwide including Princeton, ETH Zurich, and the Academy of Fine Arts in Vienna.

Ines Weizman, born in Leipzig, Germany, is the head of PhD Programme at the School of Architecture, Royal College of Art in London. Since 2022 she is also professor of architectural theory and design at the Academy of Fine Arts, Institute for Art and Architecture in Vienna. She is the founding director of the Centre for Documentary Architecture (CDA), an interdisciplinary research collective of architectural historians, filmmakers, and digital technologists. Among her most recent publications are Dust&Data: Traces of the Bauhaus across 100 Years, Documentary Architecture/ Dissidence through Architecture, and Joséphine Baker across the Colonial Modern.