The always-busy Judy Radul is part of a timely and interesting exhibition – Contour Biennale 8: Polyphonic Worlds: Justice as Medium – that offers a challenging question as it's premise:
"How to distinguish between the deep historical injustices of colonial modernity, settler governance, and mercantile empire, and the current operations of neoliberal capitalism that pronounce conditions of injustice in the familiar tenor of historical experience yet persist with a transformed planetary vigor and a reconstituted means of language, while taking planetary effect?"
To unpack and address that question (or indeed accumulated series of related questions), the Biennale brings together "a number of collectives to partake in shared deliberation, informal exchanges, durational research, and process-based contributions."
Artists and collectives participating in the Biennale include: Adelita Husni-Bey, Agency, Ana Torfs, Arvo Leo, Basir Mahmood, Beatriz Santiago Muñoz, Council, Eric Baudelaire, Filipa César & Louis Henderson, Ho Tzu Nyen, inhabitants, Judy Radul, Karrabing Film Collective, Lawrence Abu Hamdan, Madonna Staunton, Otobong Nkanga, Pallavi Paul, Pedro Gómez-Egaña, Rana Hamadeh, Ritu Sarin & Tenzing Sonam, Rossella Biscotti, Susanne M. Winterling, The Empire Remains Shop (Cooking Sections), Trevor Paglen, and Trinh Thi Nguyen.
Click here for a list of the curatorial, organizational, and behind the scenes team (which includes Judy as an 'advisor').
One initiative beyond the exhibitions offered by the Biennale is an online journal called Hearings, which is "a periodically updated resource tracing the artistic process, conceptual approach and historical research through textual as well as image and video-based contributions from a range of artists, filmmakers, thinkers and authors."
Hearings is full of great content, including Judy's thoughtful essay Video Temporality and Hindsight Evidence, which situates video art in the context of video-based evidentiary practices, both popular (YouTube, etc.) and juridical (police body-cams, interrogation videos, etc.). Now in a world supersaturated by video recording technologies and interactive platforms for sharing and showing videos of all kinds, Judy's essay asks: how "has video technology changed our ability to memorialize the “moments” in which decisions of exigent importance are made?"
Contour Biennale 8 Polyphonic Worlds: Justice as Medium is on view from March 11 to May 21, 2017, in venues throughput Mechelen, Belgium, and also includes several nights of public programming (details here).