Justice Demands and the negotiated process of art-work production in Argentina and Northern Ireland

通过对两个国家的艺术创作和法律程序之间的关系的调查，从暴力的过去出现-阿根廷和北爱尔兰-这个研究项目使在过渡时期司法领域的社会法律工作和记忆政治的文化理论工作的及时贡献。该研究将艺术努力视为生产过程，并询问“正义要求”如何进入这一过程，以及它们如何与其他类型的要求相平衡。将在每个国家调查三个项目：一个集体艺术团体，一个有影响力的个人艺术家和一个纪念艺术活动的实体地点。许多关于过渡时期司法的学术研究表明，一个社会对纠正或真相与和解过程的关注都集中在法律和法律程序上。这意味着法律程序必须对这些关切作出反应。然而，关于过渡时期司法的文献也开始承认，社会可能有其他途径反思过去的暴力，这些途径也可能对法律产生影响，例如要求法律干预，取代或补充法律。对过去暴力的记忆和情感可以通过艺术努力来描绘、激发或重新排列。通过对艺术家和艺术创作过程中其他重要角色的观察和访谈，本研究将探讨两国艺术家如何将他们的作品与法律、补救和和解的正式过程联系起来。有人认为，在正式的法律程序之前和之外一定存在一种社会需求。本研究的问题是：这是理解艺术作品生产的合适方式吗？这些艺术家认为自己是这种需求的一部分吗？或者在某种意义上，艺术作品必须被理解为替代品，与法律程序分开？他们是否寻求反映“社区情绪”，聚集或更积极地产生这种情绪？或者其他过程和关注点更重要——例如，如果美学和技术问题不能从艺术创作中移除，那么它们与正义的要求有什么关系？

Through an investigation of the relationship between art-making and legal process in two countries emerging from violent pasts- Argentina and Northern Ireland -this research project makes a timely contribution to both socio-legal work in the field of transitional justice and cultural-theoretical work on the politics of memory. Approaching artistic endeavours as processes of production, the research asks how 'justice demands' enter into that process, and how they are balanced against other sorts of demands. Three projects will be investigated in each country: one collective artistic group, one influential individual artist and one physical site of commemorative artistic endeavour.Much of the scholarly work on transitional justice implies that a society's concerns for redress, or for truth and reconciliation processes, are focused on law and legal processes. There is an implication that legal processes must respond to these concerns. However, the literature on transitional justice is also beginning to acknowledge that there may be other routes by which a society reflects upon past violence that may also have a bearing on law, by calling for legal intervention, by replacing or supplementing it. Memories and sentiments about past violence can be depicted, provoked or re-aligned through artistic endeavours.Through observation and interviews with artists, and other important actors in art-making process, the research will explore how artists in both countries consider their work in relation to formal processes of law, redress and reconciliation. It has been argued that there must be a social demand that exists before and outside formal legal processes. This research asks: Is this an appropriate way to understand art-work production? Do these artists consider themselves part of that demand? Or is there a sense in which art works must be understood as alternatives and separate from legal processes? Do they seek to reflect 'community sentiment', to gather or more actively to produce it? Or are other processes and concerns more important- for example, if aesthetic and technological issues cannot be removed from making art, how do they relate to any demands for justice?