is an artist, poet, and theorist. Her work in film, video, performance, text, photography, drawing, and sound explores the interplay between aesthetic and political valences in the public domain. Book publications include a translation of Waly Salomão’s Algaravias: Echo Chamber (Ugly Duckling Presse), nominated for a 2017 PEN Award for Poetry in Translation; the poetry volume The Distancing Effect (BlazeVOX); and the artist publication Apparent Horizon 2 (Bonington Gallery). Exhibitions, publications, lectures, and residencies include Townhouse Gallery of Contemporary Art, Museum of Fine Arts Boston, Art Dubai, Mathaf: Arab Museum of Modern Art, Pacific Film Archive, Triple Canopy, Experimental Media and Performing Arts Center, Women and Performance, The White Review, The New Museum, Transition, Asymptote, The Literary Review, Valand Academy, Darat al Funun, Delfina Foundation, among others. She completed a Ph.D. in Comparative Literature and Film & Visual Studies at Harvard University and an M.F.A. in Film/Video at Milton Avery Graduate School of the Arts at Bard College. She is author of the open text South/South. In 2017 she is an artist-in-residence at Wysing Arts Centre in the United Kingdom.
Anyone staring at my face framed in the little window at that moment would have glimpsed a man filled with shadows of an absent presence. Amidst old Europe one is awash in the idea of America as a new fatherland.
It was called the Parsley Massacre because the Dominican border guards would conduct a linguistic test of all dark-skinned people to see who was Haitian, asking the people to pronounce the word perejil (Spanish for parsley).
In the dominant U.S. political establishment prioritizing 'foreign' or global policy over domestic concerns is nearly sacrilegious, and that is a main reason why executive privilege on climate treaties gets buried or resurrected as political expediency allows.