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.
If severe overcrowding and the structural violence of the penal system were to blame for the Carandiru massacre, which has become an indelible pockmark on Brazilian history, we can expect a similar outcome in Honduras.
In these dark and brooding times it is Kafkaesque tragicomedy that strikes the right note of collective mirth. The Iranian government recently staged an anniversary celebration of Ayatollah Ruhollah Khomeini's momentous return from exile in France. The cardboard reenactment of his arrival has been the subject of effusive internet mockery since photos from the state-affiliated