Installation view, The Arrangement: International Court of Justice, exhibition U3: Triennial of Contemporary Art in Slovenia, curated by Tevž Logar, Museum of Modern Art Ljubljana, 2024, photo: Matevž Paternoster

Photography

The Arrangement

2024

Justice as vanitas: arrangements of power and a fading rule of law.

Installation view, The Arrangement: International Court of Justice, exhibition U3: Triennial of Contemporary Art in Slovenia, curated by Tevž Logar, Museum of Modern Art Ljubljana, 2024, photo: Matevž Paternoster

The Arrangement is a series of photographic portraits featuring flower compositions created in collaboration with key stakeholders from human rights and international law tribunals and organisations, including the International Court of Justice (ICJ), the International Criminal Court (ICC), the European Court of Human Rights (ECHR), the Court of Justice of the European Union (CJEU), the UN Human Rights Advisory Committee and the UN Human Rights Treaty Bodies.

The artist invited these individuals to select a flower for an arrangement envisioned for a conference addressing the human rights issue they consider most critical. Photographed in the style of historical vanitas painting, the compositions are inhabited by beetles, moths, worms and scorpions—agents of decay that unsettle the idealised image. Their presence underscores the ephemeral nature of justice and the fragile balance between progress and decline in the maintenance of fundamental rights and the rule of law.

Throughout history, flowers have had an enduring presence at events such as political treaty signings, peace negotiations and other symbolic milestones, underscoring their role as potent visual signifiers of what is perceived as the apex of human achievement and evolution. By examining their historical function as instruments that confer symbolic status and legitimacy upon different forms of power, the artist addresses the complex interplay between representation, hierarchy and the role of the artist as an intermediary within this constellation.

Exhibition

Publication

Vid Simoniti The Arrangement 2024

In his essay, Vid Simoniti interprets Jasmina Cibic’s series The Arrangement as a contemporary reworking of the vanitas tradition, where beauty and decay become a lens through which to reflect on power and ideals.

He describes how Cibic constructs floral portraits of international institutions by inviting representatives of human rights organisations to nominate flowers, transforming decorative arrangements into symbolic representations of bodies such as the International Criminal Court or the UN Human Rights Council. This gesture extends Cibic’s ongoing interest in soft power, focusing on the aesthetic and symbolic tools through which political entities shape their image.

Simoniti contrasts the image-making strategies of nation states with those of international organisations, which must project neutrality rather than unity. He situates this within the broader tensions of international justice, noting its dependence on geopolitical power and the uneven enforcement of its principles.

Rather than presenting a purely critical view, the essay reads Cibic’s work as holding a more ambiguous position. Drawing on the historical symbolism of vanitas painting, the wilting flowers become a metaphor not only for fragility and impermanence but also for the precarious existence of ideals such as human rights.

Simoniti positions The Arrangement as a meditation on the limits and possibilities of these ideals—suspended between scepticism and hope, where the imagery invites reflection on what should be preserved, and why.