Anna Viola Sborgi considers how recent documentary films reconfigure porosity as permeability, and reflects on questions of social inclusion in the city under lockdown.
Erin Schlumpf thinks through the spatial politics of slow cinema and orders to shelter in place.
Annie Dell’Aria discusses screen media’s potential to make both public space and private space—during times of social distancing—more porous.
Carrie Rentschler explores urban porosity via a feminist infrastructural focus on key points of transfer and transit in the city that activists target for change using a range of aesthetic and political strategies
Sabine Haenni’s introduction to the second round explores pores as media, biology, and as form.
Carrie Rentschler on feminist and anti-racist practices in the porous urban spaces and surfaces of chalking, graffiti, and postering
Television and media scholar Elana Levine interviews Elizabeth Patton on her recent book Easy Living: The Rise of the Home Office.Read More
Tanya Lokot interviews curators Oleksandra Pogrebnyak and Dmytro Chepurnyi about the Landscape As a Monument art residency programme and the changing geographical and cultural landscapes of Eastern Ukraine.Read More
Yoon Jeong Oh revisits Tosaka Jun’s critical interpretations of Japanese society and cultural criticism, arguing that in his writing on post-WWI Japan, Tosaka problematizes the everyday and reinstates heterogeneous temporalities by restoring the social space occupied by the people who live, work, and move about the city streets.Read More
Rahul Mukherjee leads a discussion with Germaine R. Halegoua on her book The Digital City: Media and the Social Production of Place.Read More
Floris Paalman takes a considered look at Thomas Elsaesser’s documentary Die Sonneninsel (The Sun Island). The construction of the European Central Bank on the site of Frankfurt’s former wholesale market – a building designed by Elsaesser’s grandfather, Martin – offers an opportunity to probe architectural and family history, in what Paalman terms “auto-media archaeology.”
In our continuing look back at the year that was 2017, Hunter Vaughan reflects on Margaret Atwood, The Handmaid’s Tale, and popular culture’s potential as a tool for social responsibility and engagement.
Concluding our look back at the year that was 2017, Amy Corbin reflects on the lessons learned from an evening at the cinema, and the audience conversation after a screening of Jay Dockendorf’s Naz & Maalik.