Artists Remake the World
The Series

The Series : « Art, poetry and international justice »

Since 2014, Julien Seroussi, a social science researcher, and Franck Leibovici, an artist and poet, have been conducting an unprecedented experiment. Their project, law intensity conflicts, stems from Julien Seroussi’s observations as a legal assistant at the Katanga/Ngudjolo trial at the International Criminal Court (ICC) in The Hague, between 2009 and 2014. This experiment, which they call “inquiry-artwork”, uses the tools of art, documentary poetry (poetry that no longer focuses on the “text” as a unit of meaning, but on the “document” as an artifact with pragmatic effects) and the social sciences to analyse and attempt to change the ICC’s current practices of processing materials. The tools take the form of installations, books, workshops and radio interventions. They are intended to be used by Court professionals, as well as by affected communities and researchers – any audience concerned by these trials but isolated from each other. How can civil society take part in international justice, in new forms, for it to become a platform for cultural invention and no longer just a technical institution reserved for experts?

The text, the product of four years of conversation between Virginie Bobin, Franck Leibovici and Julien Seroussi, is presented as a series, published in several episodes, most of which were written in the fall of 2018, except for a few paragraphs written in the spring of 2019. The text covers the stages of law intensity conflicts carried out between 2014 and 2018.

 

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23 December 2019

Bogoro, inquiry-artwork by Franck Leibovici and Julien Seroussi #4 Images in the trial

At the crossroads between art, poetry and international justice, Switch (on Paper) is publishing a text that takes the form of an investigation, in several instalments, of a project conducted since 2014 by Franck Leibovici and Julien Seroussi at the International Criminal Court (ICC). The project centred on the Katanga/Ngudjolo trial, named after the two militiamen accused of war crimes and crimes against humanity, allegedly committed in 2003 in the village of Bogoro, in the Democratic Republic of Congo. This fourth text clarifies the role of images and the gaze in the trial, through the study of two installations: muzungu (2016 – in progress) and vitraux et tampons — l’histoire du pixel (2018).

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