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 Fulbright U.S. Scholar/Visiting Professorship at Birzeit University. She was a lecturer at Harvard University from 2013 to 2017, and has served as a visiting artist/lecturer 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.
The argument that we are all at risk, bare and naked against a transcendent virus, actually serves the opposite function. Rather than making us feel vulnerable, we feel safe in our shared vulnerability.
The opening ceremony of the Olympics distorted the image of a country that was burning just one year ago and whose economy is yet waiting to cool off. Maybe the broadcasters figured there would be no audience for the re-enactment of the British slave trade, imperial torture, or people losing their jobs en masse.
When the breath was loud and long enough, I could simply cut out the section of tape and splice it back together. After 4+ hours of doing this, I looked down, and saw these ¼ inch sections of tape all of which contained this man inhaling for another breath. The ground was littered with his
One might come to cynically expect the trickle-down discriminatory treatment Iranians (including those with U.S. citizenship, which both Sabet and Jafarzadeh retain) from the government, who views Iran as its number-one enemy. Facing it while picking up an iPhone at the mall is disdain cut from an unexpected cloth.
Fashion is endowed with the potential to inform a political reality because fashion comes from people. The way people self-organize is always impacted by the external expression of social and political relationships, between police/denizen, publication/reader, store owner/consumer, designer/industry.
Much more surprising than getting pushed around by museum security was the realization that an institution devoted to procuring objects for people to look at was actively blocking their view of a live event, happening in front of our very living eyeballs.