Tribunalism. The Case for Art
Conference and exhibition from October 7th - November 21st, 2021
Opening Hours: Every Tuesday and Wednesday from 10am – 4pm, and by prior arrangement with Clemens Krümmel
Valid proof of one of the three safe hygienic conditions (recovered, tested, fully vaccinated) is required to visit the exhibition.
Location: Campus Halle 25 (Kunstraum), Universitätsallee 1, D-21335 Lüneburg
The conference "Tribunalism. The Case for Art" brings together artists, legal theorists, theater and art scholars, and activists to discuss what spaces artistic tribunals open up, what can be said that cannot be said elsewhere and in other ways, how the invocation of a juridical form relates to legal skepticism or legal criticism, how the absence of judgment in tribunals relates to other forms of protest as well as to possible consequences, and last but not least, which new legal subjects need to be imagined and staged.
Thursday, October 7, 2021
Guided tour through the exhibition "Tribunalism. The Case for Art"
Kunstraum der Leuphana Universität Lüneburg
(Artists will be present)
Susanne Leeb, Clemens Krümmel: Introduction
Rhada d’Souza: What’s Wrong with Rights? And Why We Cannot Let Go of It
12:30 Lunch break
Sylvia Sasse: The Theater of Artistic Tribunals (via Zoom)
Abderrahmane Sissako: Bamako
Daniel Loick: On Popular Justice
Tyler Coburn, „Richard Roe“ – A Reading
Friday, October 8th, 2021
Zuleikha Chaudhari: Landscape as Evidence. Artist as Witness
Sven Lütticken: New Juridical Subjects
Alice Creischer: A Reading
René Talbot: The Foucault Tribunal as a Political Didactic Play
Peter Spillmann: Viet Nam Discourse Stockholm. Crossing the Russell-Tribunal
Exhibition "Tribunalism. The Case for Art"
The eponymous exhibition combines filmed art works, tribunal documentaries, and artistic works that address and critique the institution of the tribunal – as well as a spatial intervention designed by Mirjam Thomann – created for this exhibition, and framing it in an installation-like language as a site of negotiation.
In recent decades, the historical format of the political tribunal has become an increasingly influential artistic communication structure for dealing with social conflicts – in theater, cinema, and literature, but especially in the field of performance art. In staged or live-recorded (re)performances of legal and social exchanges that are – often to the point of identification – placed in truth-finding and reconciliation processes, completely new, performatively speaking and listening legal subjects and new kinds of visibilities and speaker* positions emerge within the artistic field. The potentially differentiating spectrum of subjective perceptions and judgments articulates in its public performance previously unconfrontable attitudes and viewpoints, that can border on manifestations of protest and enlightenment. In the exchange of accusation and confession, in making the secret and previously unheard appear, in the unsettling experience of being able to change previously fixed positions, participants and viewers encounter central characteristics of the historical tribunal – in the "tribunalism" of art.
Works shown: Zuleikha Chaudhari: "Landscape as evidence: artist as witness“ (2017), Tyler Coburn: "Richard Roe“ (2019), Alice Creischer: "Proudhon, the December 10 Society, and the Lazy Debtors Club“ (2012), Irrenoffensive Berlin: "Foucault Tribunal“ (1998), Rajkamal Kahlon: "Did you Kiss the Dead Body?“ (2012ff), Helen Knowles: „The Trial of Superdebthunterbot“ (2016), Ronald Searle: Drawings from the Eichmann Trial (1961), Abderrahmane Sissako: „amako“ (2006), Peter Spillmann and Marion von Osten: "Viet Nam Discourse“ (2016), and Felix Topolski, Drawings from the Nuremberg Trials (1946).
© Fred Dott, Hamburg