Following an introduction of Nancy Fraser’s three-dimensional concept of justice, and Saskia Sassen’s notion of capabilities in a world shaped by the dual existence of the nation-state and globalization, Chapter One focuses on the 7th Berlin Biennale as a curatorial case study for political and artistic activism, and on “Artist Organisations International” (AOI) as an example of artist-created institutions concerned with political activism.
Two artistic projects that premiered during the 7th Berlin Biennale are then critically examined in Chapters Two and Three. An in-depth exploration of Yael Bartana’s First Congress of The Jewish Renaissance Movement in Poland (JRMiP) as a space prompting global justice is the focus of Chapter Two. The building of a Parliament in Rojava by Jonas Staal’s New World Summit (NWS) as an artistic reinvention of the Right of Intervention is the concern of Chapter Three.
Judicial-visual activism is further developed in Chapter Four through an inquiry into the theory of the emergence of disputes, and the Right of the Encounter in relation to artistic actions taking place in state institutions. Chapter Five contains a reflection on my own recent curatorial projects dedicated to encounters that I facilitated between legal and art practitioners. The result of these encounters led to the exhibition Motions for the Agenda structured around five motions/projects developed in a collaboration between the participants dealing with legal texts and documents, just as with the place of law, its language, and its archive.
This publication is based on the thesis and exhibition completed as part of the PhD in Practice in Curating Program, a joint doctoral program of the Zurich University of the Arts and the University of Reading, supported by “swissuniversities.”