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bigyack-com · 4 years

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Jamtara Netflix Series Release Date, Trailer, Cast, Director, Writer, and More

After dropping the horror anthology Ghost Stories at the start of the year, Netflix is releasing its first Indian original series of 2020 next week. It's called Jamtara: Sabka Number Ayega — that should be “Aayega”, if we're being specific about the transliteration. As for the translation, it means “everyone's turn will come”, though it also works in the literal sense in this regard, given the show is about phone phishing scams. It's clever wordplay. Jamtara is a city in Jharkhand, which is known as India's phishing capital and serves as the setting of the new Netflix series.From Sex Education to Jamtara, TV Shows to Watch in JanuaryInspired by true crime stories, Jamtara: Sabka Number Ayega consists of 10 half-hour episodes and has been directed by National Award-winning Soumendra Padhi, who said it “required a great deal of research and detailing to bring to life various characters and motives”. Originally commissioned for Viacom18-owned streaming service Voot — and made by Viacom18's digital label, Tipping Point — it was sold to Netflix in December as one of three series. From cast to release date, here's all you need to know about Netflix's next Indian show: Jamtara.Ghost Stories, Brooklyn Nine-Nine, Dracula, and More on Netflix in January

Jamtara Netflix release date

Jamtara: Sabka Number Ayega is out January 10 on Netflix in India and around the world.Jamtara Netflix synopsis“Inspired by true incidents, Jamtara: Sabka Number Ayega is the story of young, ambitious, volatile people who have the world before them. Masterminds and cousins, Sunny and Rocky, along with their friends, quietly run a wildly successful phishing scam from the small village of Jamtara. A news report about the scam catapults the village into the limelight, throwing a spanner in the works when, suddenly, everyone wants in on the game.”

Jamtara Netflix trailer

Netflix released the first and only trailer for Jamtara: Sabka Number Ayega prior to Christmas, which introduced its primary faces and the show's premise.

Jamtara Netflix cast

The Jamtara main cast includes Amit Sial (Inside Edge) as dynasty politician Brajesh Bhan, Dibyendu Bhattacharya (Dev.D) as Inspector Biswa Pathak, Sparsh Shrivastava (Shake It Up) as scam artist Sunny, Anshumaan Pushkar (Kapow) as Sunny's cousin and fellow scam artist Rocky, Monika Panwar (Super 30) as English teacher and Sunny's to-be wife Gudiya Singh, and Aksha Pardasany (Devdas) as incoming Jamtara SP Dolly Sahu.Also part of the phishing scam gang are Kartavya Kabra (Adithya Varma) as Shahbaaz, Rohit Kp (Batti Gul Meter Chalu) as Munna, Harshit Gupta (San' 75) as Bachha, Udit Arora (The Zoya Factor) as Saurav, and newcomers Sarfaraz Ali Mirza as Ponto, and Aatm Prakash Mishra as Bachhu. Aasif Khan (Mirzapur) plays journalist Anas Ahmad. Ravi Bhushan Bhartiya (Paan Singh Tomar) plays a character called Mahesh.Co-starring in Jamtara are Puja Jha (A Bitter Pill) as Rocky's girlfriend, Vijaylaxmi Mishrikoti (Seetharama Kalyana) as Varsha, Shruti Bhattacharya (Cycle Kick) as Sunny's mother, Vishwa Bhanu (Special 26) as Sunny's father, Lata Shukla (Million Dollar Arm) as Gudiya's mother, Gauri Pandit as Dolly's mother, Mamta A. Rai as Rocky's mother, Vaishali Deo as Ponto's mother, Sunita Shirole (Bajrangi Bhaijaan) as Brajesh's grandmother, and Syed Owais Rashid as Sub-Inspector Lalit.

Jamtara Netflix director, writer, producers

Padhi is the director, as we mentioned in the beginning. Trishant Srivastava (Nisha Aur Uske Cousins) is the writer on Jamtara: Sabka Number Ayega. The show is based on an original concept by Nishank Verma.Viacom18 Motion Pictures COO Ajit Andhare, Manish Trehan of Click on RM, Sarita Patil of Matchbox Pictures, and Kanchan Marathe of Viacom18 Studios serve as executive producers on Jamtara. The Netflix series is a production of Click on RM, and Tipping Point.

Jamtara Netflix poster

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sarkarimirror · 4 years

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Shaleen Kabra IAS, has been empanelled to the level of Additional Secretary in Government of India.

Shaleen Kabra IAS officer Jammu&Kashmir 1992 batch, who is presently posted as Jammu& Kashmir Stae Election Commission has been empanelled to the level of Additional Secretary in Government of India. Read the full article

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u4u-voice · 5 years

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Jammu and Kashmir Govt says

JAMMU: Jammu and Kashmir Governor Satya Pal Malik has opposed the holding of Assembly polls in June in the state that is under President’s rule from the past 10 months. The Governor administration has asked the Election Commission to go for polls in November. The poll panel was expected to conduct state elections in June-July, however, Governor administration while opposing the move, cited Ramazan, Amarnath Yatra and peak tourism season in the valley as the reasons for delaying polls, reports said. The development comes when the EC is supposed to conduct a high-level meeting today in the national capital about the Jammu and Kashmir polls. Reports said that state Chief Electoral Officer Shailendra Kumar, Chief Secretary BVR Subrahmanyam, Home Secretary Shaleen Kabra and Director General of Police Dilbag Singh would attend the meeting. The poll meeting comes after the EC appointed special observers who subsequently visited the state to assess the ground situation. They remained in the state for five days and met with the concerned officials, representatives of political parties etc. These observers include S Gill (former IPS officer), Noor Muhammad (former IAS officer) and Vinod Zutshi (former IAS officer). According to reports, they have also submitted the report to the poll panel wherein they have forwarded three dates for Assembly polls viz June 8 to June 24, May 15 to June 15 and after September 15. Like the rest of the country, the state is undergoing Lok Sabha elections for six seats. The region’s major political parties had demanded simultaneous parliamentary and Assembly polls in Jammu and Kashmir. After the EC announced dates for Lok Sabha elections in the state, both the National Conference and Peoples Democratic Party slammed the ruling BJP government. They accused the saffron party of failing to conduct state polls. The last Assembly polls were conducted in 2014 which gave a fractured mandate. The BJP and PDP stitched a coalition and Mufti Mohammad Sayeed took oath as the chief minister. After Sayeed’s death, his daughter Mehbooba Mufti succeeded him and became first woman chief minister of Jammu and Kashmir. However, in June 2018, Mehbooba resigned from her position after BJP pulled out of the coalition. Read the full article

#News #U4UVoice

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realtimeslive · 6 years

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J&K Panchayat Polls to be Held in 9 Phases

Voting for the panchayat polls will be held on November 17, 20, 24, 27, 29 and December 1, 4, 8 and 11.

Image for representation. Srinagar Panchayat elections will be held in Jammu and Kashmir in nine phases beginning from November 17, the Election Commission announced on Sunday.

Chief Electoral Officer Shaleen Kabra’s announcement comes a day after he said that elections to the…

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#held #JK #Panchayat #phases #Polls

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dailymagazinblog · 5 years

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Srinagar(Jammu and Kashmir) [India], Dec 1 (ANI): In the state of Jammu and Kashmir, polling for the sixth phase of Panchayat elections has begun. Voting, which commenced at 8 am, will end at 2 pm today. Voters were seen queuing up outside polling booths in Harwan constituency of Srinagar as well as Udhampur's Malhar polling station, amongst others, in order to exercise their franchise. In Rajouri, too, voters were seen waiting to cast their votes. Furthermore, security personnel were seen manning the polling booths in order to keep a check on law and order in the region. A total of 7,156 candidates are in the fray for 6 Sarpanches and 2277 Panches in this phase. Moreover, an electorate of 5,97,396 will be voting for Sarpanch constituencies while 4,57,581 electorate will vote for Panch constituencies. The Election Commission has categorised 771 polling stations as hypersensitive, of which 410 are in Kashmir Division and 361 in Jammu Division. Basic minimum facilities have been ensured in all polling booths for facilitating the voters. Security arrangements have been made including the deployment of Central Armed Police Forces. In order to have smooth, fair and orderly conduct of Panchayat Elections, the state poll body has appointed senior government officers as General Observers to oversee the polling process. Not only that, a holiday has been declared on the day of polls in the Panchayat areas going for voting to enable the voters to cast their votes. Speaking to media, state's Chief Electoral Officer, Shaleen Kabra had stated special casual leave shall also be granted to the employees who have to go to other areas to exercise their right to franchise. The panchayat elections are being held in nine phases in the state. The seventh phase of panchayat polling is scheduled to take place on December 4 and the counting of votes will take place on the same day. (ANI)

https://www.aninews.in/news/j-k-sixth-phase-of-panchayat-elections-underway201812011007120001/

#news india National #news J-K: Sixth phase of Panchayat elections underway

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shahid121 · 6 years

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Governor For Early Panchayat, Urban Local Bodies Polls

Governor For Early Panchayat, Urban Local Bodies Polls Governor has called for holding early elections to Panchayats and Municipalities in the state in a meeting with CM The Governor had issued an Ordinance in first week of November designating Chief Electoral Officer, J&K, Shaleen Kabra, as the State Election Commission for the purpose of holding Panchayat elections in the State. According to…

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#Governor For Early Panchayat #Media #News #Urban Local Bodies Polls

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nofomoartworld · 7 years

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Hyperallergic: A Garden of Possibilities at the Palestinian Museum

The Palestinian Museum with an unfinished work by Yazan Khalili atop the museum (all photos by the author for Hyperallergic unless otherwise noted)

BIRZEIT, Palestinian Territories — The fact that the Palestinian Museum even exists may surprise some people, not because of the wealth of talent that clearly exists in these lands, but because it suggests a type of normalcy to life in an area that continues to be under occupation. When the project was first announced there were conversations about creating a museum that would reflect the reality of Palestinian life, recognizing that not all Palestinians would be able to even visit it because of Israeli border restrictions against people of Palestinian origin. Then the roughly $30-million transnational museum opened without a major “exhibition,” or at least the type of exhibition we typically envision in art museums. It was a more low-key affair, focusing on objects we often associate with historical displays, but that was also because of the real problems of occupation.

“Until Israel recognize[s] most of the Unesco protocols which protect imported goods in the museum world,” Museum Chairperson Omar Al Qattan told The National, “we can’t really bring anything in except under consular or ambassadorial cover, which means it’s always going to be a problem borrowing or exchanging exhibition objects.”

The colorful map of the gardens at the Palestinian Museum (download a complete garden guide here)

That challenge is important, because a museum today is still often categorized by its landmark treasures, the works that attract crowds. It’s a reality that has inspired artists to think creatively, and one Palestinian artist, Khaled Hourani, highlighted it best in his incredible Picasso in Palestine project back in 2011. That year, Hourani was finally able to bring a Picasso to Palestine. We may take Picasso’s work for granted in Western capitals, but in places under occupation there is real power in the presence of such “masterpiece” objects since shuttling treasures across borders reveals who is actually in control — the fact is that the Palestinian Authority has very limited authority over its own boundaries.

Speaking to Leah Sandals at Canadian Art magazine, Hourani outlined the serious issues he faced when he brought a Picasso painting to Ramallah, the capital of the Palestinian Authority. “How do you bring an artwork into a war zone? Normally this kind of artwork is supposed to go between two states that have clear borders, and it might normally take five months for that, from a museum to a museum,” Hourani explained. “In our situation, you couldn’t guarantee the safety of the artwork. So that was also an obstacle. It was not possible to insure the work 100%. And it took two years, rather than five months, to get the artwork from Eindhoven to Ramallah.” The institution making the loan, the Van Abbemuseum, had to sign off on many of the strict insurance issues.

A view of the gardens and the surrounding landscape from the museum terrace

But the lack of an “exhibition” when the museum opened became a feature of the mainstream media coverage of the institution. That absence, which can be interpreted many ways, was ridiculed by at least one Israeli news source that used the artless halls to hammer home a right-wing talking point: “As such, there is no distinct ‘Palestinian’ history or culture. And, so, it was absolutely fitting that The Palestinian Museum of Art, History and Culture opened its doors with NO EXHIBITS” (emphasis theirs). But on the Israeli left, or what remains of it, newspapers like Haaretz avoided that kind of extremist rhetoric to applaud the reality of this achievement — even pointing out that when Berlin’s Jewish Museum opened in 1999, it did not have a collection.

Yet this Museum is not hindered by its reality and it has decided to source many of its materials and talent from outside Israel, which is clearly a political and conceptual statement. That means the architects (Heneghan Peng) are Dublin-based, the landscape architect (Lara Zureikat) is Jordanian, the exit signs were from Austria (but the Israeli authorities rejected them for import and the builders had to adapt to the bureaucratic hurdle), and all other elements are sourced from elsewhere. It’s hard not to see the very existence of the Palestinian Museum as part of a conceptual project in exploring what is even possible here.

The building itself is a beautiful and stark structure that echoes the taste for minimal elegance in the art world. There is no groundbreaking architecture though, even if the terraced gardens really differentiate the institution from other art venues of this type. Labeled with names that would make a hipster’s head explode with envy — including “Aromatic Garden,” “Medicinal Garden,” and “Olive Garden” (*cue hipsters giggles*) — the gardens are hard to differentiate when on-site because they visually blend into one another, though a veteran gardener may spot these easily.

The garden is also significant because at the foundation of colonialism is the struggle for land. Property and space, particularly public space, are always political, but here they are so much more so considering what people call “Palestine” is more a conceptual space nowadays, rather than a contiguous geography. It’s also significant that the museum is not a governmental structure, but one run by a private nonprofit, and it is also Palestine’s first energy-efficient green building, with a LEED silver certification — another impressive accomplishment.

The Museum’s new exhibition, Jerusalem Lives, is curated by Reem Fadda (with assistant curators Fawz Kabra and Yara Abbas) and features 48 artists, including 18 commissions. While the galleries inside include works by Mona Hatoum, Khaled Hourani, Khaled Jarrar, and other modern and contemporary artists, the outdoor work is a major attraction in its own right.

Emily Jacir’s “Untitled (servees)” (2008) uses the voices of ride-sharing taxi drivers calling out their intended destinations from Jerusalem. It plays on loudspeakers in the museum’s parking lot, and from a distance it can even sound like a muezzin’s call to prayer. In a place where transportation is a hassle, particularly for those with identity papers that limit mobility, the call is both absurd and nostalgic, reminding many of a time when a trip from Jerusalem was far less difficult and could even be done in roughly 30 minutes (it’s only 25 miles away).

Athar Jaber’s “Stone – Opus 15” (2017) with Yazan Khalili’s “Falling Stone, Flying Stone” (2017) in the background.

The specificity of place is also at the core of Athar Jaber’s “Stone – Opus 15” (2017) work, which is fashioned from locally sourced limestone. The Iraqi-Dutch artist has crafted a piece that echoes the worn stone of Jerusalem’s religious landmarks by carving and sanding the hulking stone. If Western art history is still enamored with Michelangelo’s romantic ideal of freeing the figure from a block of marble, Jaber points to a more local history where stones are acts of devotion, touched by hands eager to get close to the divine. In contrast to conventional museums, where objects are roped off from visitors, Jaber invites visitors to graffiti and leave their marks on the work — they can even sit in it. It’s a different approach to art that predates our modern museology.

These works, like all the others, point to Fadda’s bigger thesis: that Jerusalem is the beginning and end point of globalism. It’s a provocative idea, but one that checks out when you think of the city as a continuous and contentious metropolis, one that has been at the center of pilgrimage, power, and intrigue for centuries — in medieval Christian tradition, Jerusalem is home to the “navel of the world” (aka Omphalos); in Jewish, tradition it is considered the center of the world.

Adrián Villar Rojas’s “The Theater of Disappearance” (2017)

In that context, Adrián Villar Rojas’s “The Theater of Disappearance” (2017) is as much a monument to imagination as it is to anything specific. For the piece, which is part of a larger series, he’s sliced Michelangelo’s “David” at the thighs and placed a small sculpture of kittens playing at the sculpture’s feet. The whole thing is sited atop a modernist form that resembles a Soviet-era sculptural podium, and its placement away from the other art — and close to the garden’s entrance — makes for a perplexing introduction to the show. But that displacement is part of its poignancy; like the land of Palestine itself, this is just a fragment of something our imagination works to fill in.

Khalil Rabah’s “48%, 67%,” which is a part of the artist’s Palestine after Palestine New Sites for the Museum Department (2017) project

Palestine has become so hard to conceptualize, and accordingly some of the most successful projects in Jerusalem Lives are focused on abstractions of the land and how they influence historical narratives. Khalil Rabah’s “48%, 67%,” which is a part of Palestine after Palestine New Sites for the Museum Department (2017), focuses on the infamous years of the Nakba (1948) and the occupation of East Jerusalem and the West Bank (1967) by Israeli forces. The years are rendered as percentages, which highlights the overlapping wars of demographics and land being waged in the country on a daily basis. They resemble Pop art sculptures in the vein of Robert Indiana, which we’re accustomed to, but here the declarations make for more sinister markers.

Bob Gramsma’s “facts on the ground, OI#17241” (2017) with the Palestinian Museum in the background

Bob Gramsma’s “facts on the ground, OI#17241” (2017) is equally focused on an imaginary space. The artist has excavated earth and filled the hole with concrete. The resulting cast of negative space is positioned in the Museum’s “Garden of Resistance,” and without knowing the piece’s backstory, it resembles a work of archeology, revealing layers that were previously hidden. I can’t think of a better metaphor for what the best of contemporary art can do in such a contested landscape.

But the most powerful work in the Gardens is Basel Abbas and Ruanne Abou-Rahme’s “We know what it is for/we who have used it” (2017), which builds on the artist duo’s research into the use of political narratives. Composed of 3D-printed marble masks and a five-channel sound installation, the work focuses on 13 Neolithic masks that may be the oldest known masks in the world. Removed from the West Bank with mysterious provenance, most are currently held in private collections, though two are in the permanent collection of the Israel Museum in Jerusalem, where all 13 were brought together for a 2014 exhibition. According to the artist duo, that exhibition instrumentalized the masks as part of Israel’s Zionist ideology.

Detail of Basel Abbas and Ruanne Abou-Rahme’s “We know what it is for/we who have used it” (2017)

Considering the history of the Israel Museum, which was designed to mimic the silhouette of a pre-1948 “Arab village,” it’s no surprise that it is a contentious space, displaying artifacts from the region through the lens of a national ideology. All national museums do that, but here, where two narratives are so divergent yet so close together (the two museums are about 18 miles from each other) the contrast is stunning.

The sound component of “We know what it is for/we who have used it” illuminates the objects with stories of the destroyed Palestinian villages in the region. Abbas and Abou-Rahme seem eager to symbolically ‘free’ the masks, but they look more burdened here, like shadows that flicker in and out of focus, objects that seem trapped between the worlds of the living and the dead. In that way, they epitomize the Palestinian Museum’s mission to tell new stories, ones that free history to live, breath, and renew itself through the ritual of storytelling. History in a place like Palestine can sometimes feel insurmountable, but in chimerical works like Abbas and Abou-Rahme’s, it comes alive with possibilities.

Yazan Khalili’s “Falling stone, Flying stone” (2017) is the most visible piece in the show — it sits atop the museum. I had to ask if it was a work at all since it looked so well placed up there, like it was part of the architect’s design for the building. The curator told me the work was incomplete for the opening because the glow-in-the-dark paint that is supposed to cover the surface never cleared Israeli customs. The stone itself references so many parts of Jerusalem’s history: the ancient quarries that continue to thrive today; the stone in the Dome of the Rock where the prophet Muhammad reputedly ascended into heaven; the stone from which a heavenly angel will trumpet out the arrival of Resurrection Day according to Christian lore; and the foundational stone of Judaism for those who believe the patriarch Abraham sacrificed his son Isaac for his monotheism. Khalili’s rock looks like it could topple at any moment, which points to the quixotic nature of national identity, a sense of self that can be burdened or liberated by history, and which feels precarious at all times.

I left the museum thrilled to see this new art institution participating in the formation of a new and continually evolving Palestinian identity, one formed through a connection to the land. It’s ambitious, but I didn’t realize how much of an impact it could have until I left the next day through Ben Gurion Airport in Tel Aviv.

When the Israeli border official questioned me about as to why I was in Ramallah, I was frank. “I was there yesterday to see the Palestinian Museum,” I said. “What kind of art do they show there?” he asked. I replied: “International contemporary artists.” He seemed perplexed. He had never heard of the museum and looked at me blankly until I saw his mind slowly form the thought into something more concrete, and it was obviously something that he had never thought of before.

“Wow, I had no idea” he said. “You should check it out,” I replied, in a manner that was probably too friendly for a border interaction. But he didn’t dismiss the idea like other Israelis I had met on this and a previous trip; the typical reaction to my suggestion is a stern, “I’m not allowed to go there as an Israeli.” That prohibition is only partly true, since no one would check, and many Israelis flaunt the law openly by crossing into lands that on paper appear to be prohibited. But the fact that the border official didn’t fall on that rote answer suggested I had jostled him into imagining something else. I felt the potential of such a museum in that moment.

Jerusalem Lives continues at the Palestinian Museum (Museum Street, off Omar Ibn Al-Khattab Street, Beirzeit, Palestinian Territories) until December 15.

The post A Garden of Possibilities at the Palestinian Museum appeared first on Hyperallergic.

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kabra-malvada · 1 year

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🌟Commission art🌟

Commission piece for @homunculuslover ! that I forgot to post Thank you yet again for commissioning me 💖

Look at these goofballs, ain't they cute? :3

Only 3 slots left! DM me to save a spot!

Commission sheet here!

Likes and rebloggs are deeply appreciated 💖

If for some reason you wanna support me here's my Ko-fi 🥺

#commissions open #kabra commissions #commissions art #commission art #fnaf sun #sun/moon fnaf #fnaf moon #fnaf daycare attendant

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cero-sleep · 1 year

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📷 🐰 🌸

📷 What’s set as your phone’s lockscreen?

I have this art by Dana of the Collector as my lockscreen

+ the beautiful Illusion of Choice commission I got from @/kabra-malvada as my homescreen ^^

🐰 What do you think says the most about a person?

I'm not sure tbh, but how they talk about other ppl comes to mind

🌸 Best compliment you ever received?

I treasure every compliment I have recieved on here hsjshsjshs <3

#ask cero #ask game #chaoticgouda

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derechointernacionalpublico · 7 years

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Conference: 2017 Cambridge International and European Law Conference

The Cambridge International Law Journal, in association with the Centre for European Legal Studies and Monckton Chambers, will hold the 2017 Cambridge International and European Law Conference, on March 23-24. The theme is: “Transforming Institutions.” The program is here.

CONFERENCE PROGRAMME.

Thursday 23rd March 2017 08.30 – 09.30 Registration: Lower Ground Floor, The David Williams Building, Law Faculty, The University of Cambridge. Coffee and other refreshments will be provided. 09.30 – 09.45 Welcome Address by Professor Eyal Benvenisti, Whewell Professor of International Law, The University of Cambridge. 09.45 – 10.30 Keynote Address by Professor Jan Klabbers, Professor of International Law, The University of Helsinki. 10.30 – 11.00 Coffee Break: Coffee, Tea and other refreshments will be provided. 11.00 – 12.15 Panel 1: Transformations in International Criminal Law.

Dr. Annika Jones, Lecturer in International Law, The University of Durham: “A Quiet Transformation: Efficiency Building in the “Fall” of International Criminal Justice”.

Dr. Gabriel M. Lentner, Research and Teaching Fellow, The Danube University Krems & Lecturer in Law, The University of Vienna: “Transforming Institutions: UN Security Council Referrals to the International Criminal Court”.

Dr. John Joseph Heieck, Lecturer in Public International Law and International Diplomatic Law, The University of Kent, Brussels School of International Studies: “The Duty to Prevent War Crimes: Transforming Russia’s Veto Power in the Security Council?”

Panel 2: The Transformation of EU Law-Making.

Emilija Marcinkevciute, PhD Candidate, The University of Cambridge: “Sovereignty of Member States: the Role of Mixity in the European Union”.

Katy Sowery, PhD Candidate, The University of Liverpool: “How far are the formal structures under the Treaty for the amendment of Union primary law affected by the (transforming) role of the Union institutions?”

Dr. Zheni Zhekova, The University of Luxembourg & Catherine Warin, PhD Candidate, The University of Luxembourg: “Non-binding EU external arrangements: Transforming the EU institutional balance? The example of the EU-Afghanistan Joint Way forward on migration issues”.

Dr. Chrysthia Papacleovoulou, Scientific Collaborator in Law, University of Cyprus and Practitioner, Law Chambers Nicos Papacleovoulou, Cyprus: “The Transformative Role of Troika: with focus on the Cyprus bail-in and Greece bail-out”.

12.15 – 13.15 Lunch Break: A buffet lunch and refreshments will be provided on the lower ground floor of the David Williams Building in the Law Faculty.

13.15 – 14.30 Panel 3: Transformations in The European Court on Human Rights.

Gail Lythgoe, PhD Candidate, The University of Glasgow: “The Territorial Configuration of International Institutions”.

Edith Wagner, Research Fellow, Max Planck Institute for International, European and Regulatory Procedural Law, Luxembourg & PhD candidate, The University of Heidelberg: “Attack of the clones at the European Court of Human Rights – How clone cases challenge and advance the Strasbourg System”.

Juha Tuovinen, PhD Candidate, European University Institute: “A Transformation in the Reasoning of the European Court of Human Rights?”

Panel 4: Institutional Transformations and the Court of Justice of the European

Union.

Zane Rasnaca, PhD candidate, European University Institute: “How important is the CJEU really?”

Ana Koprivica, Research Fellow, Max Planck Institute for International, European and Regulatory Procedural Law, Luxembourg & PhD candidate, The University of Luxembourg: “What Happens in Luxembourg (Still) Stays in Luxembourg?

Transforming the Role of the Court of Justice of the European Union through Extending Public Access to Oral Hearings”.

Dr Tamas Molnar, Adjunct Professor, Institute of International Studies, Corvinus University of Budapest: “The Court of Justice of the EU, autonomy of EU law and the relationship with other European courts.”

14.30 – 15.45 Panel 5: International Arbitration in Times of Transition.

Ridhi Kabra, PhD Candidate, The University of Cambridge: “Mass Investment Claims’ -transforming investment arbitration into a mass claims process?”

Jagdish John Menezes, Associate at Quinn Emanuel Urquhart & Sullivan LLP, London: “Unfit to Profit: Transforming the Shops in the Investment Disputes Marketplace”.

Georgios Andriotis, Associate at Shearman & Sterling LLP, Paris: “Rule of Law’s Transformative Effect on International Investment and Arbitration”.

Panel 6: Transforming Financial Institutions and the Market.

Dr. Thomas Papadopoulos, Lecturer in Law, The University of Cyprus: “Transforming the role of Member States in privatised companies: Justifications of golden shares in the CJEU’s case law”.

Ivona Skultetyova, Lecturer/Researcher in Law, Tilburg University: “From Law-making to Investing: Is European Commission’s Intervention in Venture Capital Industry One Step Too Far?”

Dr. Charikleia Vlachou, Lecturer in Law, Universite d’Orleans: “Between markets and hierarchies: institutional transformation in the European administration”.

Dr. Eytan Tepper, DCL Candidate, McGill University: “Polycentrism and Institutional Transformation from Without: China’s AIIB and NDB and the Co-existence of International Financial Institutions”.

1545-1615 Coffee Break: Coffee, Tea and other refreshments will be provided. 1615 – 1730 Panel 7: The EU Legal landscape: A Transforming Topography?

Professor Dr. Henri de Waele, Professor of International and European Law, Radboud University Nijmegen & The University of Antwerp: “Belonging to a Club that Accepts You as One of its Members’ – The Transformation of the Selection and Appointment Process at the Court of Justice of the European Union”.

Professor Rob van Gestel, Professor of Law, Tilburg University & Professor Jurgen de Poorter, Professor of Law, Tilburg University: “Communication between the European Court of Justice and national highest administrative courts: Judicial dialogue or living apart together?”

Professor Giulio Peroni, Adjunct Professor and Senior Researcher of International Law, State University of Milan: “The financial and economic systemic risk an opportunity to reshape the institutional architecture of European Union”.

1845 Drinks Reception followed by Conference Dinner at 19.30 in Sidney Sussex College, Cambridge.

Friday 24th March 2017 09.00 – 09.30 Arrival at David Williams Building, Law Faculty, University of Cambridge. Coffee, Tea and other refreshments will be provided. 09.30 – 10.15 Keynote Address by Professor Kenneth Armstrong, Professor of European Law & Director of Centre for European Legal Studies (CELS), The University of Cambridge. 10.15 – 11.30 Panel 8: The Transformation of EU Institutional Balance.

Emily Hancox, PhD Candidate, The University of Edinburgh: “Institutional balance in the EU following the increasing codification of EU fundamental rights”.

Benjamin Bodson, Research Assistant & PhD Candidate, Catholic University of Louvain: “What Legal Regime for Trilogues? State of Play and Perspectives”.

Desmond Johnson, Lecturer in Comparative Public Law, The Hague University of Applied Sciences: “Institutional Balance as an Agent of Transformation in the EU Constitutional Order”.

Panel 9: International Courts and Tribunals in Transformation.

Yuan Yi Zhu, DPhil Candidate, The University of Oxford: “China and International Courts in the Aftermath of Philippines v. China”.

Peter Tzeng, Postgraduate Fellow, Yale Law School: “First Decisions: The Arrogation of Jurisdiction by International Judicial Bodies”.

Johannes Fahner, PhD Candidate, The University of Luxembourg: “International Courts in Transformation: Alternating between Activism and Restraint”.

Gloria Okemuo, PhD Candidate, The University of Birmingham: “The Court of Justice of the African Economic Community (AEC) as a potential transformative agent in moving the African integration agenda forward: challenges and prospects”.

11.30 – 11.45 Coffee Break: Coffee, Tea and other refreshments will be provided.

11.45 – 13.00 Panel 10: The Domestic Effect of ECHR Law.

Pieter Van Cleynenbreugel, Associate Professor of European Union law, Universite de Liege,: “The implicit transformation of national administrative authorities in the service of supranational ‘fair trial’ rights”.

Dominik Rennert, PhD candidate, Humboldt University Berlin: “The Transformative Margin of Appreciation: Conceptualizing a Transnational Constitutional Court”.

Leonie Huijbers, PhD Candidate, Utrecht University: “The European Court of Human Rights in a Changing Fundamental Rights Landscape: A Procedural Reply?”

Dr. Maria Smirnova, Research Associate, The University of Manchester: “Injection of Justice: The Role of International Law in Transforming Institutions in Russia”.

Panel 11: Brexit.

Dr. Davide Paris, Post-Doc Research Fellow, Alexander von Humboldt Foundation, Max Planck Institute for Comparative Public Law and International Law, Heidelberg: “Avoiding other Brexits”.

Patrick Fitzgerald, Clerk to the Irish Supreme Court: “The status of British law in independent Ireland: a model for post-Brexit Britain?”

Heinrich Nemeczek, Research Fellow, The University of Mannheim: “The application and surveillance of EEA Law by British domestic courts and authorities after Brexit”.

13.00 – 14.00 Lunch Break: A buffet lunch and refreshments will be provided on the lower ground floor of the David Williams Building in the Law Faculty. 14.00 – 15.15 Panel 12: European Courts as Agents of Change.

Auke Willems, PhD Candidate, Vrije Universiteit Brussels: “The Transformation of the Principle of Mutual Trust in EU Criminal Law by the Court of Justice of the European Union”.

Dominik Dusterhaus, Legal secretary, Court of Justice of the European Union: “Private International Law and the ECJ: Constitutionalization of Private International Law v Private Internationalization of EU Law Adjudication”.

Maris Moks, PhD Candidate and Research Associate, Hertie School of Governance, Berlin: “The Role of European Constitutional Courts in the Aftermath of the Euro Crisis”.

Panel 13: Institutional Responses to Contemporary European Crises.

David Fernandez Rojo, PhD Candidate and Researcher, University of Deusto: “From Frontex to the European Border and Coast Guard: Towards an Increasing Role of the Agency in the Enforcement of the External Border Control?”

Dr. Anastasia Karatzia, Assistant Professor in EU Law, Erasmus University Rotterdam & Menelaos Markakis, Researcher in Law, Erasmus University Rotterdam: “What Role for the Commission and the European Central Bank in the European Stability Mechanism?”

Akiva Weiss, Researcher in Law, The University of Hamburg and The University of Rotterdam: “The EU & OIC: A market-based solution to the European Union’s refugee crisis?”

15.15-15.30 Coffee Break: Coffee, Tea and other refreshments will be provided. 15.30 – 16.45 Panel 14: The UN Institutions and Transformation.

Sarah Shirazyan, PhD Candidate, Stanford Law School: “Combating Proliferation of Weapons of Mass Destruction: Law, Politics, and Institutional Design of United Nations Security Council Resolution 1540”.

Dr. Christopher Michaelsen, Associate Professor of Law, The University of New South Wales: “Transforming the Security Council: the Role and Leverage of Non-Permanent Members”.

16.45 – 17.00 Closing Remarks by Professor Kenneth Armstrong, Professor of European Law & Director of Centre for European Legal Studies (CELS), The University of Cambridge.

[via International Law Reporter]

http://www.dipublico.org/105443/conference-2017-cambridge-international-and-european-law-conference/

#Centre #CJEU #Cyprus #European Court of Human Rights #European Court of Justice #European Union #Greece #Luxembourg #Member States #Philippines #Private International Law #Professor of International Law #Professor of Law #Security Council #University of Cambridge

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