The lawyer often compared the justice system to theatre. He understood that there was a performative logic to the nature of law, which was the result of the fundamental indeterminacy of legal discourses. It allowed him to transform a political trial from a mere instrument of power into a cultural artefact that was capable of provoking a public reflection on hegemonic norms and transforming the law itself. “A trial is a place of metamorphosis,” he was known to say, “Joan of Arc wouldn’t have been a saint without her trial.”

Open! has just published our text on the historical and didactic nature of the political trial. Read an excerpt below.

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24-10-14 to 18-01-15, San Telmo Museum, Donostia - San Sebastián

Our installation "Work in Progress" will be shown in "Suturak, Cerca de lo próximo", an extensive exhibition on contemporary Basque art at the San Telmo Museum. The show, realized in collaboration with Artium, Basque Museum-Center for Contemporary Art, aims to contextualise the strategies with which art and artists relate to their environment, emphasizing their capacity to translate and shape the construction of identity and community.

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On Saturday, we are giving an artist's talk at Tabakalera, where we will present "Últimas Palabras", a video piece filmed in Argentina in 2013.

25 October 2014, 12:00
SUKALDEA
Duque de Mandas, 32 (Bajos de la Torre Atocha)
20012 Donostia-San Sebastián

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Artists have always been pushed in many roles: from chroniclers of history, romantic geniuses, agents provocateurs, to increasingly individuals who are tasked to solve the ills of society. Have the progressive politics of artists become ensnared in a neo-liberal trap? If so, how and by what means? What kind of art does it produce, how is it valued and where do we find productive refusal? - Public Event 16 October 2014, at 20.00 in TENT Rotterdam, Witte de Withstraat 50.

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As Turkey places its cities under curfew to disperse the protests against the advance of the IS into Kobanê, the organisation of the upcoming Mardin Biennial issues a statement, postponing the event until further notice. As artists invited to participate in this biennial, we respect this decision, and express our support for the team:

"We now hear a cry that is greater than our voices and it comes from Kobanê. Kobanê that stands ever so firmly against the barbarism of its attackers has become the bleeding wound in the hearts of all those who live in this region. We would have liked to carry out the 3rd International Mardin Biennial as originally planned, but we know that in order for the voice of Kobanê to be heard, we need to go quiet and make all necessary efforts for its voice to be heard more. We are not afraid. On the contrary, we are hopeful that Kobanê’s voice will indeed be heard. That is why we have decided to postpone until further notice the 3rd International Mardin Biennial, which was supposed to take place between October 17 and November 17. It will take place in near future for the sufferings which take place right in front us to be seen and heard."

Mardin Cinema Association Döne Otyam, Ferhat Özgür, Fırat Arapoğlu, Mehmet Baran, Sait Tunç, Mesut Alp, Fikret Atay, Hakan Irmak, Ferhat Satıcı, Hülya Özdemir, Claudia Segura, Canan Budak, Can Bulgu

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Welcome to Belfast will be screening in Artium, Basque Museum-Center of Contemporary Art, in the show Invisible Violence curated by Zoran Erić, Blanca de la Torre and Seamus Kealy. The exhibition is coproduced by Artium, Basque Museum-Centre of Contemporary Art, Vitoria, and the Museum of Contemporary Art, Belgrade. This collaboration involves two distinct but jointly curated exhibitions and the first one opened to the public last spring in Belgrade.

Opening: September 11, friday, 8 pm
September 11, 2014 - January 12, 2015

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September 4 – November 16 2014, TENT Rotterdam
Opening 4 September 17:00

The Value of Nothing explores the effects and consequences of the logic of the market as the main value system in our society. The market and money are indicators for determining value, but what exactly is measured, and what is overlooked? What are other forms of economic exchange, and what does that mean for the conditions and experience of value manifested herein? Also, how is the value of art determined?

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This summer, we'll be spending some time at Azala, a residency in the mountains of Álava, Basque Country. Apart from gazing at the wonderful view from our cabin, we'll resume our work on the trial as the stage and choreography of conflict, investigating the intersections between art and law. The residency is in three parts, which will allow us to continue working on this throughout 2015.

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This Wednesday 16th of July at 19h, at Centro Arts Santa Mònica, Barcelona, Hamaca presents the videoprogram "This is the girl. Sobre decidir, si podemos decidir" that was assembled by Marti Manen and which includes "Welcome to Belfast" (2004).

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Nire ama Roman hil da (My mother died in Rome) is an installation that consists of handmade facsimiles of the "exceptional" graffiti discovered in Iruña-Veleia, an archaeological site in Basque Country, and a video in which the inscriptions are deciphered by different experts in favour of, or opposing, the theory that they are forgeries.

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