ABSTRACT The symposium for this issue comprises six responses to the video artwork Palais de Justice (2017) by artist Carey Young. The video presents a study of the life of Brussels’ vast, late-nineteenth-century court building. In Palais de Justice, Young presents ‘a legal system seemingly centered on, and perhaps controlled by women’. The respondents are Jeanne Gaakeer, Ruth Herz, Joan Kee, Linda Mulcahy, Jeremy Pilcher and Gary Watt. Jeanne Gaakeer and Ruth Herz have the distinction of being, not only internationally respected scholars, but also experienced judges. Jeanne Gaakeer is a judge practicing in the Netherlands and Ruth Herz was formerly a judge in Germany. The six responses are followed by the artist’s own reflections on her artwork and her response to the commentators’ responses. Joan Kee writes that ‘Young highlights access as a key entry point for thinking about the law. Who can avail themselves of the law? Who may enter (or exit) the courts? Who is excluded and by whose authority? The surreptitious looking and peering that define the experience of watching the film suggests how these questions deny ready answers’.

中文翻译：

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凯里·杨的司法宫

摘要本期专题讨论会包括对艺术家Carey Young的视频作品Palais de Justice（2017）的六份回应。该视频介绍了布鲁塞尔布鲁塞尔19世纪末期巨大的法院大楼的生活。在《司法宫》中，Young提出了“一个看似以妇女为中心并可能由妇女控制的法律体系”。受访者包括Jeanne Gaakeer，Ruth Herz，Joan Kee，Linda Mulcahy，Jeremy Pilcher和Gary Watt。珍妮·加基耶（Jeanne Gaakeer）和露丝·赫兹（Ruth Herz）的区别在于，他们不仅是国际知名的学者，而且还是经验丰富的法官。珍妮·加克（Jeanne Gaakeer）是在荷兰执业的法官，露丝·赫兹（Ruth Herz）以前是德国的法官。六个回应之后是艺术家对自己的作品的反思以及对评论者回应的回应。琼·基（Joan Kee）写道：“ Young强调将访问作为思考法律的关键切入点。谁可以利用法律？谁可以进入（或退出）法院？谁被排除在外，谁被谁授权？隐秘的外观和凝视定义了观看电影的体验，这表明这些问题如何拒绝立即回答。