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.
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.
When I was younger I took the body for granted; it was just “there” and would always supply the same predictable access to the world. Because it was eternal, it could be abused more generously.
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.
Where class itself becomes a scientifically-legitimated predictor for social pathologies, it can also become a variable to deny these underclass subjects opportunity to that world.
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).
The top five regrets of the dying will either crush your soul because you recognize yourself in the list, or will make you smile that you’re free and clear.