The Zip Code Memory Project: Practices of Justice and Repair (ZCMP), co-directed by Marianne Hirsch (Columbia University) and Diana Taylor (New York University), seeks to find reparative ways to memorialize the devastating losses resulting from the Coronavirus pandemic, while also acknowledging its radically differential effects on different Upper New York City neighborhoods. It is housed at the Center for the Study of Social Difference (CSSD) at Columbia University and is supported by a CSSD Social Engagement grant funded by the Columbia University President’s Office. CSSD is pleased to announce that the Zip Code Memory Project is the recipient of a grant from the Henry Luce Foundation for a two-year term beginning July 1, 2021.
Listen now on Apple Podcasts and Spotify!
Episodes, show notes, and transcripts can be found on the Just Three podcast page here.
The Center for the Study of Social Difference wishes to congratulate Professor Jack Halberstam, the David Feinson Professor of the Humanities, Department of English and Comparative Literature, Director of the Institute the Study of Gender & Sexuality (ISSG), and Director of the past CSSD Working Group Queer Aquí, has been named a 2024 Guggenheim Fellow.
Read the full ISSG article here.
Former co-director of the Queer Aquí working group and David Feinson Professor of the Humanities, Jack Halberstam, will be delivering a public lecture as part of the Queer PowerPoint series, held in Sydney, Australia, on December 15, 2023. In anticipation of the forthcoming work entitled The Wild Beyond: Music, Architecture and Anarchy, this lecture will examine the particularities of what Professor Halberstam means by “wildness” as a space of possibility for breaking from binaries such as gender, sexuality and so on. Tickets are still on sale for this wonderful event here.
The event is hosted by the Power Institute at the University of Sydney.
Already sold out is Professor Halberstam’s talk on Thrusday, December 14, at the Museum of Contemporary Art Australia titled “All Fall Down: Post-Industrial Demolition Projects and the Aesthetic of Collapse.”
