With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images. At the core of this publication are new essays on film shot in the building: beginning in the mid-1990s, mere months after the US abandoned its West Berlin headquarters, these films formed part of reunified Germany's nascent creative industry, and continued to be made throughout the 2000s. This chronology is speculatively extended by time-based artworks that were commissioned as part of Fluentum's multiyear program series In Medias Res: Media, (Still) Moving, which this publication both documents and further explores through artistic contributions. Though varying in their commerciality, audience, and aesthetic, they similarly employ the material and ideological architecture of the space as a matrix for creating history, allowing one to uniquely trace how the past becomes real through the present.

With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images. At the core of this publication are new essays on film shot in the building: beginning in the mid-1990s, mere months after the US abandoned its West Berlin headquarters, these films formed part of reunified Germany's nascent creative industry, and continued to be made throughout the 2000s. This chronology is speculatively extended by time-based artworks that were commissioned as part of Fluentum's multiyear program series In Medias Res: Media, (Still) Moving, which this publication both documents and further explores through artistic contributions. Though varying in their commerciality, audience, and aesthetic, they similarly employ the material and ideological architecture of the space as a matrix for creating history, allowing one to uniquely trace how the past becomes real through the present.

With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images. At the core of this publication are new essays on film shot in the building: beginning in the mid-1990s, mere months after the US abandoned its West Berlin headquarters, these films formed part of reunified Germany's nascent creative industry, and continued to be made throughout the 2000s. This chronology is speculatively extended by time-based artworks that were commissioned as part of Fluentum's multiyear program series In Medias Res: Media, (Still) Moving, which this publication both documents and further explores through artistic contributions. Though varying in their commerciality, audience, and aesthetic, they similarly employ the material and ideological architecture of the space as a matrix for creating history, allowing one to uniquely trace how the past becomes real through the present.