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

通过在两个国家的艺术创作和法律的过程中出现的暴力过去-阿根廷和北方尔爱尔兰的关系的调查-这个研究项目作出了及时的贡献，在过渡司法领域的社会法律的工作和文化理论工作的记忆的政治。研究将艺术活动视为生产过程，探讨“正义需求”如何进入这一过程，以及它们如何与其他类型的需求相平衡。将在每个国家调查三个项目：一个集体艺术团体、一个有影响力的艺术家个人和一个纪念性艺术活动的实体场所，关于过渡时期司法的许多学术工作都表明，社会对补救或真相与和解进程的关注侧重于法律和法律的进程。这意味着法律的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，一个社会可能通过其他途径来反思过去的暴力，这些途径也可能对法律产生影响，通过呼吁法律的干预，通过取代或补充它。与艺术创作过程中的其他重要行为者的关系，研究将探讨两国的艺术家如何考虑他们的工作与法律、补救与和解的正式程序的关系。有人认为，在正式的法律的程序之前和之外，必须存在一种社会需求。这项研究提出的问题是：这是理解艺术作品生产的适当方式吗？这些艺术家认为自己是这种需求的一部分吗？或者说，艺术作品必须被理解为替代品，与法律的过程分开？他们是否寻求反映“社区情感”，收集或更积极地产生它？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去除，它们如何与任何对正义的要求联系起来？

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?