Starting Wednesday, 4 September 2019, at co. (company projects), the film program There is No Neutral Space introduces the writers, theoreticians, and artists who have been featured in Petunia or films that have been reviewed within the journal since 2009.

The film program paves the way for the upcoming symposium Passages – two days of discussions, screenings, lectures and performances – that takes place at co. (company projects) on Friday, 27 September 2019, and at Goethe in the Skyways on Saturday, 28 September 2019. Coinciding with the conclusion of both Goethe Pop Up Minneapolis Goethe in the Skyways and the dislocation of co. (company projects), the symposium’s aim is to invite critical feedback while reflecting on the notions of legacy, of transition, of commitment to the local, as well as of urban space/architectural environment.

Films are screened every Wednesday in September, 6.30 pm.

The screenings are free of charge.
Reserve a seat as space is limited via Eventbrite

Wednesdays, 6.30pm

4 September 2019: Strange Days by Kathryn Bigelow.

11 September 2019: Fulll Firearms by Emily Wardill and Palais de Justice (I choose also black) by Michelle Naismith.

18 September 2019: Born in Flames by Lizzie Borden.

25 September 2019: Lady to Fox by Lili Reynaud Dewar, The Machine Room by Caroline Mesquita, Possessed and Home Sweet Ho(l)me(s) by Alexandra Midal, and Normal Work by Pauline Boudry/Renate Lorenz.  Alexandra Midal, one of the filmmakers, will be present. She will also present and sign her most recent book, published by Sternberg Press and distributed by the MIT Press: Design by Accident. For a New History of Design.

The screenings are free of charge.
Reserve a seat as space is limited via Eventbrite

Kathryn Bigelow
Strange Days, 1995, 145 min

Set in the last two days of 1999, the film follows the story of a black marketeer of SQUID discs, recordings that allow a user to experience the recorder’s memories and physical sensations, as he attempts to uncover the truth behind the murder of a prostitute.
Blending science fiction with film noir conventions, Strange Days explores themes such as racism, abuse of power, rape, and voyeurism. Although the story was conceived by Cameron around 1986, Bigelow found inspiration after incidents such as the Lorena Bobbitt trial and the 1992 Los Angeles riots that followed the Rodney King verdict. The film was shot entirely in the Greater Los Angeles Area over a period of 77 nights.

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This project is supported by Etant Donnés Contemporary Art, a program developed by FACE Foundation and the Cultural Services of the French Embassy in the United States, with lead funding from the French Ministry of Culture and Institut Français-Paris, the Florence Gould Foundation, The Ford Foundation, the Helen Frankenthaler Foundation, Chanel USA, the ADAGP, and the CPGA.