Using satellite imagery from 2010, 2011, 2013, and 2014, the Operational Satellite Applications Programme (UNOSAT) of the United Nations Institute for Training and Research (UNITAR) has mapped the intensity of cultural damage to cities across Syria. The exact numbers still need to be validated on the ground, but the maps confirm the impression of devastation. Its analyses have “revealed a total of 13,778 affected structures in Homs, 8,510 in Aleppo, 5,233 in Hama, 3,112 in Deir Ez Zor, 467 in Ar Raqqa, and 351 in Daraa.”
As well as the precise numbers of damaged and destroyed properties, responsibility for such material harm needs to be established. Reckless destruction of civilian property constitutes a war crime. Targeted destruction of cultural and community property constitutes a crime against humanity. Whether by investigators or their sources, responsible reporting is key to management of conflict and prosecution of crimes. Some reports appear to have misattributed responsibility for genocidal destruction.
For example, a month ago, Hyperallergic questioned Robert Fisk’s claim that Jabhat al-Nusra (JaN/JN) rebels, rather than the Islamic State (IS), had destroyed the Armenian Genocide Memorial Church in Deir el-Zour, Syria. Fisk’s report was ‘riddled with peculiarities, mistakes, contradictions and historical inconsistencies‘ and appeared ignorant of public evidence. Conflict Antiquities had published open-source analyses a month-and-a-half before Fisk’s article went to press. Yet the Independent has not even corrected the date of Armenian Genocide memorial day — which is on the 24th of April, not the 25th — let alone addressed any of the other concerns.
As it stands, the evidence points towards Islamic State responsibility. And, since Hyperallergic’s report, observers have affirmed its interpretation. Syria-focused conflict journalist Aris Roussinos observed: “Fresh from confusing JN/Junud ash-Sham in Idlib with IS, Fisk now confuses IS in DEZ [Deir el-Zour] with JN.” Iraq/Syria-focused political scientist Aymenn Jawad Al-Tamimi assessed: “Fisk gets basics wrong in accusing Nusra of destroying Armenian church in Deir az-Zor … no Nusra presence there anymore.” Intensional suggested: “Most noteworthy here is how neither Fisk [nor] the Independent seem to give a shit they were obviously wrong.”
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.