is an artist, poet, and theorist whose work explores the interplay between aesthetic and political valences in the public domain. Exhibitions, performances, and expanded publications include Nottingham Contemporary, Pioneer Works, 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, among others. She was previously an artist-in-residence at Wysing Arts Centre (U.K), Industry Lab (U.S.A.), Delfina Foundation (U.K.), Darat al Funun (Jordan), and Mansion (Lebanon). 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 Lecturer in History & Literature at Harvard University from 2012 to 2017, and has served as a visiting studio artist at New York University, Valand Academy, Cambridge School of Art, Anglia Ruskin University, among others. 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); the artist publication Apparent Horizon 2 (Bonington Gallery); the chapbook Alphabet of an Unknown City (Belladonna*); and in 2018, Bio (Inventory Press). She was editor at The New Inquiry between 2012 and 2017, and is author of the open text South/South. Currently she is Artist-in-Residence at Aftab Committee in Washington, D.C. The publication Secret Catalan Poem (The Elephants) is forthcoming in 2019.
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.
In 1978 American artist Jeffrey Vallance sent one of his ties to dozens of government leaders with the request that they send back one of their own. By 1979, at least 47 had complied (though Pope John Paul II opted to send back a medal and an autographed picture).