The Zip Code Memory Project: Practices of Justice and Repair
Project Directors: This project is led by Marianne Hirsch and Diana Taylor, with Susan Meiselas, Lorie Novak, and Laura Wexler, and builds on the work of the Women Mobilizing Memory working group at CSSD.
Project Manager: Lee Xie
Project Coordinator: Meg Jianing Zhang
VISIT THE OFFICIAL
Zip Code Memory Project website here.
The ZIP Code Memory Project: Practices of Justice and Repair, a Social Engagement project housed at the Columbia Center for the Study of Social Difference, 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. In partnership with community, arts and academic organizations, and working across the zip codes of Morningside Heights, Harlem, Washington Heights and the South Bronx, we will gather a group of scholars, artists and activists to develop a series of hands-on artistic practices that can transform and enliven those spaces. Building on the networks of care that local communities have created, we hope to mobilize memory and repair a sense of trust that will help us all build a sense of shared responsibility and belonging. ZCMP will consist of group meetings and discussions, reparative memory workshops, public roundtables featuring the work of reparative memorial artists, the building of an interactive website, and a final exhibition and memorial event.
ZCMP website: zcmp.org
News
Partner Organizations Include:
The Schomburg Center for Research in Black Culture
The Museum of the City of New York
El Museo del Barrio
The Bronx Documentary Center
City College of New York Black Studies Program
Rifkind Center for the Humanities and the Arts
Centro Civico Cultural Dominicano
The Cathedral of St. John the Divine
Magnum Foundation
City Seminary of NY
Public Humanities and Arts Graduate Fellows
Workshop Leaders
Curators
Past Events
With thanks for a Grant from the Henry Luce Foundation
With thanks for additional funding from Columbia School of the Arts; The Society of Fellows and the Heyman Center for the Humanities; Institute for Religion and Public Life; Yale University Public Humanities; City College of New York Rifkind Center for the Humanities and the Arts; Public Humanities Initiative of GSAS, NYU; Institute of Performing Arts, Tisch School of the Arts, NYU