is an artist, poet, and researcher whose work explores the interplay between aesthetic and political valences in the public domain. Solo/group exhibitions, performances, and expanded publications include Nottingham Contemporary, Pioneer Works, Parasol Unit, Serpentine Cinema, Framer Framed, Townhouse Gallery of Contemporary Art, Museum of Fine Arts Boston, Art Dubai, New Museum, Pacific Film Archive, Sonic Acts, Triple Canopy, Experimental Media and Performing Arts Center, The Poetry Project, Women and Performance, The White Review, Art in America, The Literary Review, Asymptote, Circumference, among others. She was previously an artist-in-residence at Trélex Poetry Residency (France), Sonic Acts (Amsterdam/NY), Residency Unlimited (U.S.A.), Aftab Committee (U.S.A.), Wysing Arts Centre (U.K), Industry Lab (U.S.A.), Delfina Foundation (U.K.), Darat al Funun (Jordan), Mansion (Lebanon), Brooklyn Public Library (U.S.A.), 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, and held a postdoctoral Fulbright and Visiting Professorship at Birzeit University. She was a Lecturer at New York University and Northeastern University from 2019 to 2021; at Harvard University from 2012 to 2017; and has served as visiting faculty/studio artist at Valand Academy, Cambridge School of Art, Anglia Ruskin University, Bard Microcollege, among others. Book publications include a translation of Waly Salomão’s Algaravias: Echo Chamber (Ugly Duckling Presse), nominated for a PEN Award for Poetry in Translation; The Distancing Effect (BlazeVOX); and Bio (Inventory Press). Artist books/chapbooks include Apparent Horizon 2 (Bonington Gallery); Alphabet of an Unknown City (Belladonna*), Secret Catalan Poem (The Elephants), Mohammad Wikipedia Book (Recess), and Dictionary of Night, co-authored with Mirene Arsanios (Ashkal Alwan). She was editor at The New Inquiry between 2012 and 2017, and is author of the open text South/South. She founded Oil Research Group (ORG) as a one-woman artist collective exploring the relationship between oil and data. She lives and works in New York.
In Esfehan, a little girl who lost her mother stood next to a soldiers’ barrack. With one wet eye toward the uniformed guards behind her, she yelled, “I am scared of the police. I am scared of the police!”
'What happened in 1964 was a military coup and not a revolution in Brazil. The emerging changes were in the system of the State and they did not change the political system, for example. We continue living in a capitalist country with the same economic system.'