{"product_id":"issue-42-global-players","title":"ISSUE 42: GLOBAL PLAYERS","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the world, by popular voice, an editorial has already been written, and this issue will propel it further: the collective chant of “No Justice, No Peace”, the shorter, punchier descendant of Martin Luther King's Vietnam War era analysis that peace as currently brokered can function as an instrument of power rather than a remedy for it. Alone, peace deals cannot put an end to genocides and wars—only the establishment of justice will. The slogan above expresses the awakening of a collective consciousness in the wake of International Law’s failure to hold accountable the full spectrum of actors (or indeed anyone) implicated in war crimes and colonial violence from Venezuela to Sudan to the Democratic Republic of Congo to Syria to Gaza. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIf peace alone is inadequate, what about justice? Justice, yes, but when we use the term, what do we mean? Justice by and for whom? This issue, titled \u003c\/span\u003e\u003cspan\u003eGlobal Players\u003c\/span\u003e\u003cspan\u003e, is the result of a collaboration with AFIELD (Paris) and Framer Framed (Amsterdam), and begins with this question. Dedicated to Transitional Justice, it puts the universality of justice on trial, illuminating the shifting spatio-temporal conditions in which it is negotiated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe origins of Transitional Justice emerge from efforts to confront widespread human rights violations in nations moving from conflict, authoritarian rule, and repression toward peace, democracy, and stability. The aftermath of World War II, particularly the Nuremberg Trials, where Nazi leaders were tried for war crimes, crimes against humanity, and genocide, established a standard for how the international community responds to severe human rights violations, with a focus on accountability, truth-seeking, and compensation. Since then, many nations have sought their own ways of addressing histories of violence and reconstructing their societies: South Africa’s Truth and Reconciliation Commission after apartheid, Latin America's transitions from military dictatorship through the 1980s and 90s, and the reckonings in the Balkans after the Yugoslav wars. However, the consequences of enduring violence do not move linearly; they travel in vortical loops of trauma.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFollowing Transitional Justice’s four pillars: \u003c\/span\u003e\u003cspan\u003ethe right to know\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003ethe right to justice\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003ethe right to reparation\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003ethe right to non-repetition\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eGlobal Players’\u003c\/span\u003e\u003cspan\u003e pages engage with what it means to speak of justice when historical violence continues to structure the present in the inseparable conditions of our shared global reality. The false dichotomy of “here” and “there” is exacerbated by an International Law written overwhelmingly in the Global North, where law and art are subjugated to (and collusive with) neoliberal elitism, and where cultural practice carries almost no weight in the formal processes through which justice is rebuilt after conflict. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis issue probes the contrary: that an art, less exclusive, more porous, capable of holding contradictions that legal language cannot, might do real work precisely by bearing witness, by restoring the texture of memory, by making legible what tribunals leave unnamed: the distance between legal principle and lived experience. \u003c\/span\u003e\u003cspan\u003eGlobal Players\u003c\/span\u003e\u003cspan\u003e then reaches toward that conjunction and extends the invitation visually through a collaboration with Tawna, an Amazonian film collective whose practice approaches moving image as testimony, situated storytelling, and sustained attention to contested geographies of experience, currently presented at the first Ecuadorian Pavilion of the 61st Venice Biennale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWar and violence, like colonization, take more than rights and land. They strip away the cultural rituals through which people grieve, celebrate, and remember. In \u003c\/span\u003e\u003cspan\u003eSupply Lines\u003c\/span\u003e\u003cspan\u003e, our chapter dedicated to first-hand experience from workers, the conflict facilitator Hamida Giyasbayli reflects on how political exile reshapes the language available to describe in-between states of being. Inés Condori testifies on the looting of dignity suffered by women subjected to forced sterilization in Peru. With these losses go the threads that bind people to one another and to the places they call home, wounds that run in many directions, and that call both for systemic change and for the particular work that artists can do.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMoving ahead, the issue widens its lens. \u003c\/span\u003e\u003cspan\u003eCommand Centers\u003c\/span\u003e\u003cspan\u003e features a conversation with Gregory Scholette about the intersection of justice and socially engaged art, alongside a critical perspective from the \u003c\/span\u003e\u003cspan\u003eThird World Approaches to International Law (\u003c\/span\u003e\u003cspan\u003eTWAIL) scholar and lawyer Sujith Xavier on the limits of Transitional Justice as a framework. \u003c\/span\u003e\u003cspan\u003eReverberations\u003c\/span\u003e\u003cspan\u003e turn to subtler, structural forms of harm, including algorithmic governance, urban precarity, and the politics of green space, focusing on work by Wang Yiquan and Laura Langenais. \u003c\/span\u003e\u003cspan\u003eTactics\u003c\/span\u003e\u003cspan\u003e makes legible the strategies of artists operating in conflict zones and carceral conditions through pieces by Aly Abdallah, ThiYazan Al-Alawi, and Jailtime Records. \u003c\/span\u003e\u003cspan\u003eSide Games\u003c\/span\u003e\u003cspan\u003e closes the issue with Joseph Kaifala’s Interactive Life Path, a meditation on the choices that introspectively, but insistently, determine a life. Finally, we circle back to the cover, where the artist Shokoufeh Eftekhar questions, in poetry, what it means to be determined by the law. Their answer is: \u003c\/span\u003e\u003cspan\u003eI am somehow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis issue brings together an extensive international group of artists, writers, researchers, and practitioners: ThiYazan Al-Alawi, Aly Al-Qarm, Paolo Caffoni, CATPC, Inés Condori, Shokoufeh Eftekhar, Feminist Culture House, Hamida Giyasbayli, Zahara Gómez Lucini, Ozan Güngör, Jailtime Records, Amelie Jakubek, Joseph Ben Kaifala, Laura Langenais, Jesse Laurie, Andy Liu, Lydia Markaki, Renzo Martens, Brunilda Pali, María Inés Plaza Lazo, Krishan Rajapakshe, Gregory Sholette, Ced'Art Tamsala, Abi Tariq, TAWNA, TJA Research Group, Wang Yiquan, Sujith Xavier, and Rico Zyrrano.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eImprint\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFounder \/ Publisher \/ Editor at Large\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMaría Inés Plaza Lazo\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eEditor in Chief\u003c\/strong\u003e\u003cbr\u003eDalia Maini\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eAssociate Editors\u003c\/strong\u003e\u003cbr\u003eThe research group of the Transitional Justice with Artists project (Amelie Jakubek, Abi Tariq, Chantal Wong, Lydia Markaki)\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eCopyediting\u003c\/strong\u003e\u003cbr\u003eWilliam Kherbek, ezo karamell\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eDistribution and Administration\u003c\/strong\u003e\u003cbr\u003eLaurentiu Dragota\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eLayout, Design\u003c\/strong\u003e\u003cbr\u003eManuel Burger\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis issue is co-funded by the European Union, in partnership with AFIELD and Framer Framed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arts of the working class","offers":[{"title":"Default Title","offer_id":58233348423944,"sku":null,"price":5.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0284\/1241\/1976\/files\/Cover_Issue42.png?v=1784043688","url":"https:\/\/arts-of-the-working-class.myshopify.com\/products\/issue-42-global-players","provider":"Arts of the Working Class","version":"1.0","type":"link"}