is an artist, poet, and cultural technologist 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, Brooklyn Public Library, among others. She has served as artist-in-residence at Trélex Poetry Residency (France), Sonic Acts (Netherlands), Residency Unlimited (U.S.A.), Wysing Arts Centre (U.K), Industry Lab (U.S.A.), Delfina Foundation (U.K.), Darat al Funun (Jordan), 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 include Apparent Horizon 2 (Bonington Gallery); Alphabet of an Unknown City (Belladonna*), Secret Catalan Poem (The Elephants), Mohammad Wikipedia Book (Recess), Dictionary of Night, co-authored with Mirene Arsanios (Ashkal Alwan), and Oil News 1989-2020, co-authored with Sam Lavigne (Sonic Acts). Her translation of Salomão’s Border Fare is forthcoming in 2024 (World Poetry Books). She is Editor Emeritus of The New Inquiry, where she previously served as Editor-at-Large. She founded South/South, cited as "one to watch" by the Los Angeles Times, and authored 500+ posts independently between 2009-2012 and at TNI between 2012-2023. She is the founder and principal of Oil Research Group (ORG), a one-woman collective exploring coterminous oil and data environments at the heart of "data is the new oil." ORG regularly collaborates with artists, scientists, economists, indigenous environmentalists, and host art institutions. She lives and works in New York.
'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.'
Because the obscured or masked face resists representation, it can only be repeated, a phenomenon that grants it what Jacques Derrida called a “terrible power.”
Lucas led activists through Cicero to protest restrictions in housing laws. White residents of Cicero respond with vitriolic jeers as the police struggle to prevent a riot.
In the ‘fight against terror’ by the Most Moral Army in the World, the un/official legal and academic enforcer’s of the the Israeli army’s ‘ethical code’ are indispensable salespeople.
Maps mean the legislated or regulated reality that the powerful create & enforce against the powerless. The results for those ground down by them are devastating.
Donnie Andrews’ life—in print and onscreen fictionalization—reads like a composite of several different lives, enlarged and textured by seeming extremes.
Mr. Kristof's large brain-to-body ratio and his ability to grasp and maneuver objects such as a pen and notepad while he engages in bipedal locomotion is noteworthy.
She was wearing a low-cut tee shirt that showed off the word “Muse” tattooed across her collarbones like a necklace. Being a literalist, I took her at her word.