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

—

Emily Wardill
Fulll Firearms, 2012, 80 min

Full Firearms is the first feature film by British artist Emily Wardill. Based on the legend of Sarah Winchester, it presents the story of Imelda, the daughter of an arms manufacturer, who is possessed by the idea that she will be haunted by the ghosts of those killed by her father’s weapons. She uses her inheritance to build a house intended to accommodate the ghosts and lessen her guilt. Her fantasies are contrasted with the targeted approach of the architect who tries to implement her wishes architecturally, but whose grasp of reality becomes increasingly unsettled as the building is occupied by squatters who Imelda believes to be the ghosts she has been expecting and who take up a permanent place in her life. (source: IMBD)

Michele Naismith.
Palais de Justice (I choose also black), 2002, 15 min

In 2002, the short film Palais de Justice (I choose also black) staged the staggering walks of an awkward creature, a large anthropomorphic egg cousin of Lewis Caroll’s Humpty Dumpty, wandering around the implacable architecture of the courthouse designed in Nantes by Jean Nouvel. Images of power, images of a discourse that is both confident and fragile, the film questions in the hollow the symbols of authority, while theatrical sets and props, half realistic and half-fantastic, set up a reflection on theatrical artifice. (Courtesy of the artist)

—

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.