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In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice . In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.       18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   Film screeningThe empire of law Daniela Ortiz On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice. In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice. In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.      On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice. In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice. In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.           nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018   kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-   binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitt julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 lands.  “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.“The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.    @@ -15829,9 +15831,9 @@ id="flowPara6428" style="font-style:normal;font-variant:normal;font-weight:normal;font-stretch:normal;font-size:41.09213257px;line-height:125%;font-family:'Latin Modern Roman';-inkscape-font-specification:'Latin Modern Roman, ';text-align:start;writing-mode:lr-tb;text-anchor:start;stroke-width:1.02730334px">The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image. occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.       jods.mitpress.mit.edu/pub/costanza-chock jods.mitpress.mit.edu/pub/costanza-chock kunstencentrum kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitt julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   THE EMPIRE OF LAW Daniela Ortiz On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice . In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice . In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.         The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image. occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.       ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenouslands. “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.          “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.“The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.      edition of Contour, biennial for moving image.     nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018   kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 /www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   @@ -19670,12 +19664,12 @@ inkscape:path-effect="#path-effect3118" inkscape:connector-curvature="0" id="path4648" - d="m 19332.11,2228.4889 0,1802.8275" + d="M 19332.11,2228.4889 V 4031.3164" style="fill:none;stroke:#000000;stroke-width:2;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-opacity:1" /> 12 JUNE 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   - 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   @@ -23415,12 +23394,12 @@ inkscape:path-effect="#path-effect3118" inkscape:connector-curvature="0" id="path6385" - d="m 19332.11,2228.4889 0,1802.8275" + d="M 19332.11,2228.4889 V 4031.3164" style="fill:none;stroke:#000000;stroke-width:2;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-opacity:1" /> 12 JUNE 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   @@ -27494,12 +27465,12 @@ inkscape:path-effect="#path-effect3118" inkscape:connector-curvature="0" id="path8044" - d="m 19332.11,2228.4889 0,1802.8275" + d="M 19332.11,2228.4889 V 4031.3164" style="fill:none;stroke:#000000;stroke-width:2;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-opacity:1" /> 12 JUNE 18 MAY 17 MAY 19 MAY Thomas More Hogeschool Installation  Maarten Vanden Eynde   12 JUNE   lands.  “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.“The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.     “The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.“The Empire of Law” is a critical visual analysis of the relation between law, justice and colonialism, based on the architecture, history and context of two palaces of justice. In this manner, it unveils the role of the legal system in the construction of extractivist, racist and neo-colonial global structures. Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. The project consists out of a two day symposium and workshop and a newly commissioned video that will be launched early 2019 . The project forms part of the project Not Fully Human, Not Human At Alldeveloped in collaboration with Kadist and curated by Natasa Petresin Bachelez, and this year’s edition of Contour, biennial for moving image.    @@ -30272,7 +30239,7 @@ style="fill:#f66758;fill-opacity:1;stroke:#f66758;stroke-width:0.67401946;stroke-opacity:1" /> nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 /www.nona.be/nl/blog/stageplaats-art-fellows /www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018   nolwenn@mastodon.social @@ -30443,7 +30410,7 @@ inkscape:original-d="m -270.7242,-65.38201 c 0,0 0.62538,-17.51052 9.38064,-25.64041 8.75526,-8.12988 31.89416,-10.00601 44.40168,-5.62838 12.50751,4.37762 18.76127,6.87913 18.76127,6.87913 l -2.5015,5.62839 c 0,0 -23.67166,-9.51647 -35.64642,-7.50452 -7.19226,1.20842 -18.76127,6.87914 -18.76127,11.25676 0,4.37764 -3.75226,19.38667 -3.75226,19.38667 l -5.62838,-8.12989 z" inkscape:path-effect="#path-effect4426-2-2" id="path7091" - d="m -270.7242,-65.38201 c -1.32137,-9.383889 2.31553,-19.324747 9.38064,-25.64041 5.80525,-5.189446 13.56816,-7.856948 21.3319,-8.453409 7.76373,-0.596461 15.56342,0.754798 23.06978,2.825029 6.42842,1.772939 12.71046,4.076351 18.76127,6.87913 l -2.5015,5.62839 c -10.11696,-7.35735 -23.42183,-10.15838 -35.64642,-7.50452 -7.28874,1.582327 -14.38377,5.217972 -18.76127,11.25676 -3.98835,5.50195 -5.3997,12.793922 -3.75226,19.38667 l -5.62838,-8.12989 -6.25376,3.75225 z" + d="m -270.7242,-65.38201 c -1.32137,-9.383889 2.31553,-19.324747 9.38064,-25.64041 5.80525,-5.189446 13.56816,-7.856948 21.3319,-8.453409 7.76373,-0.596461 15.56342,0.754798 23.06978,2.825029 6.42842,1.772939 12.71046,4.076351 18.76127,6.87913 l -2.5015,5.62839 c -10.11696,-7.35735 -23.42183,-10.15838 -35.64642,-7.50452 -7.28874,1.582327 -14.38377,5.217972 -18.76127,11.25676 -3.98835,5.50195 -5.3997,12.793922 -3.75226,19.38667 l -5.62838,-8.12989 z" style="fill:#2a5a53;fill-opacity:1;fill-rule:evenodd;stroke:none;stroke-width:1.23818076px;stroke-linecap:butt;stroke-linejoin:miter;stroke-opacity:1" /> kunstencentrumnona@facebook.com @@ -30500,7 +30467,7 @@      julieblancfr@twitter.com 18 MAY   @@ -30879,7 +30844,7 @@   3 8 8 5 5 nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 Law served as a legitimating tool of colonialism throughout history. The Law of the Indies of 1512 and The Berlin Act of 1885 are clear examples. Yet, also today the idea of justice is used to approve violent migratory control policies, including the strengthening of the persecution, detention and deportation of persons. As a result, Ortiz’ speaks of a European project of creating “the Empire of Law”, an empire, rooted in colonialism, in which justice to the colonial territories and racialized people can never be found.The Empire of Law is a long term collaboration between Daniela Ortiz and Netwerk Aalst within the Unreliable Protagonist programme. Hop ici un lien.     Full moon On October 15 1883, Brussels witnessed the inauguration of the largest building constructed in the XIX century in Europe: the Brussels Palace of Justice. In that period, Belgium was reigned by king Leopold II who was looking to expand the country’s influence in the world and more specifically in Central Africa. In 1884-1885, he became the personal ruler of the Congo Freestate that he brutally exploited. Under his regime, natural resources left the country and millions of Congolese people died. The Palace of Justice played an important role in sustaining Belgian’s colonial power and quickly became an international symbol of authority and power, and hence also of the disconnection between law and the people. On December 5 1939, Lima witness the inauguration of the same Palace of Justice, yet built on a smaller scale and without the central dome. The inauguration of the copy of Poelaert’s chef d’oeuvre occurred during the presidency of Oscar Benavides, ancestor of the actual owners of the biggest Peruvian mining company, Buenaventura, that has systematically been using the Peruvian political and legal system in order to legitimate the violent extraction of natural resources in indigenous lands. ,     @@ -31515,7 +31478,7 @@ inkscape:original-d="m 19540.143,2228.7776 -59.188,0" inkscape:path-effect="#path-effect3049-1" id="path11386" - d="m 19540.143,2228.7776 -59.188,0" + d="m 19540.143,2228.7776 h -59.188" style="fill:none;fill-rule:evenodd;stroke:#ffffff;stroke-width:2;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-opacity:1" sodipodi:nodetypes="cc" /> @@ -31572,7 +31535,7 @@ inkscape:original-d="m -270.7242,-65.38201 c 0,0 0.62538,-17.51052 9.38064,-25.64041 8.75526,-8.12988 31.89416,-10.00601 44.40168,-5.62838 12.50751,4.37762 18.76127,6.87913 18.76127,6.87913 l -2.5015,5.62839 c 0,0 -23.67166,-9.51647 -35.64642,-7.50452 -7.19226,1.20842 -18.76127,6.87914 -18.76127,11.25676 0,4.37764 -3.75226,19.38667 -3.75226,19.38667 l -5.62838,-8.12989 z" inkscape:path-effect="#path-effect4426-2-2" id="path11402" - d="m -270.7242,-65.38201 c -1.32137,-9.383889 2.31553,-19.324747 9.38064,-25.64041 5.80525,-5.189446 13.56816,-7.856948 21.3319,-8.453409 7.76373,-0.596461 15.56342,0.754798 23.06978,2.825029 6.42842,1.772939 12.71046,4.076351 18.76127,6.87913 l -2.5015,5.62839 c -10.11696,-7.35735 -23.42183,-10.15838 -35.64642,-7.50452 -7.28874,1.582327 -14.38377,5.217972 -18.76127,11.25676 -3.98835,5.50195 -5.3997,12.793922 -3.75226,19.38667 l -5.62838,-8.12989 -6.25376,3.75225 z" + d="m -270.7242,-65.38201 c -1.32137,-9.383889 2.31553,-19.324747 9.38064,-25.64041 5.80525,-5.189446 13.56816,-7.856948 21.3319,-8.453409 7.76373,-0.596461 15.56342,0.754798 23.06978,2.825029 6.42842,1.772939 12.71046,4.076351 18.76127,6.87913 l -2.5015,5.62839 c -10.11696,-7.35735 -23.42183,-10.15838 -35.64642,-7.50452 -7.28874,1.582327 -14.38377,5.217972 -18.76127,11.25676 -3.98835,5.50195 -5.3997,12.793922 -3.75226,19.38667 l -5.62838,-8.12989 z" style="fill:#ffffff;fill-opacity:1;fill-rule:evenodd;stroke:none;stroke-width:1.23818076px;stroke-linecap:butt;stroke-linejoin:miter;stroke-opacity:1" /> 3 3 8 5 Detail nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 Close info@nona.be Gijs de Heij 18 MAY 17 MAY 19 MAY Presentation Picha / Narratives    18 MAY 17 MAY Lecture performance Mark Pozlep Presentation from Flotation School Maria Lucia Cruz Correira Black Gold Cadine Navarro (FR) + id="tspan35902">  C O N T O U R 9 + xml:space="preserve">C O N T O U R 9 C O N T O U R 9 @@ -33672,7 +33618,7 @@ id="rect9982-6" style="color:#000000;clip-rule:nonzero;display:inline;overflow:visible;visibility:visible;opacity:1;isolation:auto;mix-blend-mode:normal;color-interpolation:sRGB;color-interpolation-filters:linearRGB;solid-color:#000000;solid-opacity:1;fill:#000000;fill-opacity:1;fill-rule:nonzero;stroke:none;stroke-width:3;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-dashoffset:0;stroke-opacity:1;color-rendering:auto;image-rendering:auto;shape-rendering:auto;text-rendering:auto;enable-background:accumulate" /> nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 3 3 8 5 kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitt julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 /www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018   Reserve your pass + + C O N T O U R 9 + xml:space="preserve">C O N T O U R 9 C O N T O U R 9 @@ -34632,7 +34587,7 @@ id="rect9982" style="color:#000000;clip-rule:nonzero;display:inline;overflow:visible;visibility:visible;opacity:1;isolation:auto;mix-blend-mode:normal;color-interpolation:sRGB;color-interpolation-filters:linearRGB;solid-color:#000000;solid-opacity:1;fill:#000000;fill-opacity:1;fill-rule:nonzero;stroke:none;stroke-width:3;stroke-linecap:butt;stroke-linejoin:miter;stroke-miterlimit:4;stroke-dasharray:none;stroke-dashoffset:0;stroke-opacity:1;color-rendering:auto;image-rendering:auto;shape-rendering:auto;text-rendering:auto;enable-background:accumulate" /> nolwenn@mastodon.social Saisissante description de la manière dont les scanners d'aéroports discriminent les personnes non-binaires. J'aime la proposition de l'auteure: "nous devons concevoir ces systèmes à partir des expériences de ceux et celles à qui ils nuisent" https://jods.mitpress.mit.edu/pub/costanza-chock kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 3 3 8 5 kunstencentrumnona@facebook.com Wil je ons team vervoegen maar heb je nog niet gereageerd? Let op, de deadline op 8 juli komt eraan. https://www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitt julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018 /www.nona.be/nl/blog/stageplaats-art-fellows julieblancfr@twitter.com Les cahiers du studio de l'@latelier_cherch utilisés pour documenter les rencontres @delurepointorg #lure2018