ABSTRACT
In the installation The Trial of Pol Pot, developed in collaboration with Philippe Parreno, Gillick combined this "script" configuration with the problem of truthful representation. The exhibition The Trial of Pol Pot, which opened in November of the same year in the Grenoble exhibition space Le Magasin, illuminated the failed trial as a legal, ethical, and epistemological field of debris. As Gillick and Parreno noted in a discussion paper written in July 1998, the questionable-and indeed internationally highly questioned-tribunal recalled show trials, as it seemed more committed to the effect on its audience than to exercising justice. In The Trial of Pol Pot, the instruments of this visualisation were themselves under scrutiny. Personal experiences are thus scripted along the lines of the rhetoric of specific administrative apparatuses in a very similar way as is required for the procedures of trial and tribunal.
