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Commentary on the 2022 Grotius Lecture

Published online by Cambridge University Press:  24 March 2023

Karima Bennoune
Karima Bennoune*
Affiliation:
Lewis M. Simes Professor of Law, University of Michigan Law School. The author thanks James Brown, René Figueredo Corrales, and Shay Elbaum for research assistance.
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Extract

I express my sincere thanks to the American Society of International Law and the International Legal Studies Program at American University Washington College of Law for the invitation to be this year's commentator. It is indeed an honor to respond to Judge Charlesworth's erudite Grotius Lecture: “The Art of International Law.”

Type
2022 Grotius Lecture
Information
Proceedings of the ASIL Annual Meeting , Volume 116 , 2022 , pp. 24 - 28
Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press on behalf of The American Society of International Law

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References

1 Symposium Issue: Art, Aesthetics, and International Law, 114 AJIL Unbound (2020), at https://www.cambridge.org/core/journals/american-journal-of-international-law/ajil-unbound-by-symposium/art-aesthetics-and-international-justice.

2 Farida Shaheed, Special Rapporteur in the Field of Cultural Rights), Report on the Right to Freedom of Expression and Artistic Creativity, UN Doc. A/HRC/23/34 (Mar. 14, 2013).

3 Karima Bennoune, Special Rapporteur in the Field of Cultural Rights), Report on Socially Engaged Artistic Initiatives, para. 2, UN Doc. A/HRC/37/55 (Jan. 4, 2018).

4 Id.

5 Pablo de Greiff, On Making the Invisible Visible: The Role of Cultural Interventions in Transitional Justice Processes, in Transitional Justice, Culture, and Society 11, 12 (Clara Ramírez-Barat ed., 2014).

6 Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment and Sentence (Sept. 27, 2016), at https://www.icc-cpi.int/CourtRecords/CR2016_07244.PDF.

7 See Prosecutor v. Ahmad Al Faqi Al Mahdi, ICC-01/12-01/15-214-AnxI-Red3, Brief by Ms. Karima Bennoune, Expert Appointed by the ICC, Reparations Phase (Apr. 27, 2017, public redacted version Aug. 14, 2017), at https://www.icc-cpi.int/sites/default/files/RelatedRecords/CR2017_05022.pdf (concerning destruction of cultural heritage sites in Mali).

8 Id., paras. 80, 82.

9 Visual Imagery and Human Rights Practice 11 (Sandra Ristovska & Monroe Price eds., 2018).

10 See, e.g., Annalisa Ciampi, Images and Customary International Law, or the Destruction/Construction of International Norms through Images, 13 Pólemos 25 (2019); Roland Bleiker, Emma Hutchinson & David Campbell, Imaging Catastrophe: The Politics of Representing Humanitarian Crises, in Negotiating Relief: The Politics of Humanitarian Space (Micele Acuto ed., 2014); Aoife Duffy, Bearing Witness to Atrocity Crimes: Photography and International Law, 40 Hum. Rts. Q. 776 (2018); TRIAL International, La preuve audiovisuelle devant les instances internationales: Techniques et admissibilité: Manuel à l'usage des praticiens (2019), at https://trialinternational.org/latest-post/using-audiovisual-evidence-in-international-proceedings-a-handbook-for-all-practitioners.

11 Art Lords, at https://www.artlords.co.

12 Steve Rosenberg, Ukraine-Russia: The 76-Year-Old Artist Taking on Putin, BBC News (Mar. 24, 2022), at https://www.bbc.com/news/world-europe-60866283.

13 Karima Bennoune (Special Rapporteur in the Field of Cultural Rights), Report on Cultural Rights Defenders, UN Doc. A/HRC/43/50 (Jan. 20, 2020).

14 8 Years After Assassination of Salwa Bughaighis, Lack of Justice and Impunity for the Perpetrator, Defender Ctr. (June 25, 2022).

15 Shoshana Felman, The Juridical Unconscious: Trials and Trauma in the Twentieth Century 1 (2002).