In her work ‘[RESTRICTED]’, Daria Radu addresses the architecture of international legal institutions in The Hague, demystifying these spaces by highlighting their human elements and questioning their accessibility to the public. Daria was granted access to the International Criminal Court (ICC) and the International Court of Justice (ICJ) and documented the metaphorical cracks of the seemingly perfect buildings, drawing attention to the mundane and unnoticed. While justice is destined for everyone, international law is a construct covered in intricate layers of inaccessibility, she concludes.

Anastasia Troshkova similarly explores proximity and distance in her work ‘A Testimony of Birdwatching’, where she investigates the role of consumer drones in modern warfare and international law. Her work delves into the visual function of small, manoeuvrable ‘first-person view’ (FPV) drones - both as contemporary cameras and as tools for remote-controlled killing. While Anastasia previously used drones for photography, video-making, and entertainment, she now focuses on footage widely shared on the internet - captured by drones shortly before their deadly attacks. Using a Polaroid camera, she challenges the distance and the detached gaze that drones create between reality, the operator, and the spectator. The scenography is crafted by Boris Steiner.

Salome Erni works with the visual traces of Case No. ARB/24/44, an international arbitration between a gas company and the Netherlands which was filed in October 2024. The work not only speaks about the gas exploitation controversy in Groningen, but also about the designed inaccessibility of investor-state dispute settlement (ISDS) arbitrations and a world where states are often complicit with companies when the revenues are high enough, until the people pressure them to reconsider. By borrowing the language of activism, Salome tackles the abstract postcolonial frameworks of international dispute settlement and asks the audience: Where is the public interest?