How much autonomy would the subject retain if it were subjected to a “cultural-technical analysis”? What would happen if objects and media were granted “a place commensurate with insights from media theory”? But “object-oriented legal concepts” are also criticized for shifting the blame onto the weapon used in the crime, which is why one reflexively returns to the fiction “that every action belongs to an acting subject.”

The timeline shows a collection of legal and visual events that some of the participants have selected in relation to their projects. It draws the connection between the law and images by way of artistic projects.

A short documentary that investigates a case of censorship and violence that took place in Italy in 1981, targeting the film A.A.A. Offresi. By COLLETTIVA (Marta Basso, Sara Cecconi, Carlotta Cosmai, and Alice Malingri).

An essay on the two television documentaries, "Processo per stupro" (1979) and "A.A.A. Offresi" (1981), which, [...] suffered a broadcasting ban that made them invisible, concealed objects. By ANNAMARIA LICCIARDELLO.

"Le malentendu colonial" raises the question how a complaint is made, how an accusation is performed; how the memory of German colonialism is repressed and how it is finding its administrative continuation in today’s institutions.

The three thematic areas—code of conduct, ownership, crimes and ecology—productively resonate with each other, generating key concepts. By CLIO NICASTRO

"A theory of juridical practice is to be developed; and even more fundamentally: the entire philosophy contained in law, which law cannot think, but by which it is dominated, is to be grasped juridically." (Farocki and Zischler on BERNARD EDELMAN)

Beyond the polarization between readings that equate it with depoliticization and those that identify it as a new form of political struggle, the fundamental characteristic of juridification remains its nature as a political phenomenon. By NATASCIA TOSEL

In what ways can we perform a critique of law during the “new twenties” of the twenty-first century? Can we escape reproducing the critique of the form of law in the same form that the law? By DARIA BAYER

Who decides which images become visible or remain invisible on social media, when and why? Why can the police take a picture of me, while I can't necessarily take a picture of the police? [...]