Helene Kazan is an artist, writer and curator. Her work investigates ‘risk’ in Lebanon, through an analysis of international law, architecture, and the human experience of violence, observed and argued through the frame of 'poetic testimony'. Kazan further distinguishes how violence is traced through architecture and the lived-built environment as a material sensor of an evolving integrated limit condition of conflict and capitalism.
Kazan received the CHASE/AHRC award for her PhD at the Centre for Research Architecture, Goldsmiths University of London. She is the recipient of the 2018-2020 Vera List Center Fellowship at The New School, New York. Kazan is a Lecturer at Oxford Brookes University, the Royal College of Art, London, and was a Research Fellow at Forensic Architecture, Goldsmiths University of London (2012 - 2015).
Through her inter-disciplinary practice Kazan has worked with Ashkal Alwan/Digital Earth, Beirut (2019), Goethe Institute, Lebanon, the Arab Center for Architecture (2018), The Serpentine Gallery, London (2017), documenta(14), Kassel (2017), Strelka Institute for Media, Architecture and Design, Moscow (2016), marra:tein, Beirut, (2016), Ibraaz (2015), Tate Britain, London (2015), Mosaic Rooms, London (2015), The Showroom, London (2014), the House of World Cultures (HKW), Berlin (2014) and the Beirut Art Center (2013).
Kazan recently published 'The Architecture of Slow, Structural and Spectacular Violence and the Poetic Testimony of War' in a special issue on Gender, War, and Technology (Australian Feminist Law Journal, 2018), 'On Shelter and International Law' (Avery Shorts, 2018), 'Accident and Design in Aerial Bombardment' (The Funambulist, 2016) and 'What the War Will Look Like' in Forensis (Sternberg, 2014).
Kazan received the CHASE/AHRC award for her PhD at the Centre for Research Architecture, Goldsmiths University of London. She is the recipient of the 2018-2020 Vera List Center Fellowship at The New School, New York. Kazan is a Lecturer at Oxford Brookes University, the Royal College of Art, London, and was a Research Fellow at Forensic Architecture, Goldsmiths University of London (2012 - 2015).
Through her inter-disciplinary practice Kazan has worked with Ashkal Alwan/Digital Earth, Beirut (2019), Goethe Institute, Lebanon, the Arab Center for Architecture (2018), The Serpentine Gallery, London (2017), documenta(14), Kassel (2017), Strelka Institute for Media, Architecture and Design, Moscow (2016), marra:tein, Beirut, (2016), Ibraaz (2015), Tate Britain, London (2015), Mosaic Rooms, London (2015), The Showroom, London (2014), the House of World Cultures (HKW), Berlin (2014) and the Beirut Art Center (2013).
Kazan recently published 'The Architecture of Slow, Structural and Spectacular Violence and the Poetic Testimony of War' in a special issue on Gender, War, and Technology (Australian Feminist Law Journal, 2018), 'On Shelter and International Law' (Avery Shorts, 2018), 'Accident and Design in Aerial Bombardment' (The Funambulist, 2016) and 'What the War Will Look Like' in Forensis (Sternberg, 2014).