recently, now + soon
*Blind Crossing and What News from the Sea? are in Waste Lands, curated by Piedad Solans, at the Casa Arabe in Cordoba, September 13th to November 17th, 2018.
*Like Water from a Stone screens at the Tretyakov Modern in Moscow as part of Music in Action, curated by Yulia Aksenova, September 15th to October 15th, 2018.
*Our System Failure, my public art collaboration with David Birkin, is at HE.RO Gallery in Amsterdam as part of Market Failure, curated by Nick Hemsworth, and will be featured along with the older billboard project You say we are but dust … in the For Freedoms Fifty State Initiative.
*A sneak preview version of the new three-channel video When the Spirits Moved Them, They Moved (shot at the Pleasant Hill Shaker Village in Kentucky) will screen at the Hancock Shaker Village, MA from October 13th to November 10th 2018, with a closing panel and reception on the 10th at 5 pm. Please save January 10th for the NYC premiere at Ryan Lee Gallery.
*An excerpt from my new mid-length film Dis-Ease, commissioned for the international Wellcome project Contagious Cities, is in Germ City: Microbes & the Metropolis at the Museum of the City of New York, from September 14th, 2018, through April 2019. The film was produced through a joint residency at the NYPL and the Graduate Center, CUNY; a related public program at NYPL and a screening at CUNY will be coming up in the spring.
*October 18th at the Missouri History Museum, with a screening of The City & The City, as part of City/Cité St. Louis 2018.
*October 22nd at Cornell University, Ithaca, NY.
*October 27th-28th at the Haus der Kulturen der Welt in Berlin, as part of the forum Revisiting the Archive in the Aftermath of Revolution.
*November 7th at the Bard Center for Curatorial Studies, Red Hook, NY.
*The Garden of Forked Tongues, originally commissioned by the Queens Museum of Art in conjunction with Nonstop Metropolis: The Remix. A collaboration with the Endangered Language Alliance, Effi Ibok and Josh Begley.
*Rhizome recently preserved the 2004 web project How Do You See the Disappeared? A Warm Database as part of Net Art Anthology; Chitra and I had a conversation with Michael Connor about it and I was also on a New Museum panel about net art, dispersion and disappearance after 9/11 with Eva & Franco Mattes, David Joselit, and Aria Dean in November 2017.
*A conversation about art, activism, and how to win by losing with Vince Warren, director of the Center for Constitutional Rights, moderated by curator Amara Antilla, in August 2017
*A brief interview about public vs. private narratives for the Pew Center in April 2017
*October 2016 talk with Tricia Paik and Erin Ellen Kelly at the Indianapolis Museum of Art, during the show Mariam Ghani & Erin Ellen Kelly: Water, Land, City
*February 2016 talk about What we left unfinished and artists in times of war, as part of Critical Writing Ensembles at the Dhaka Art Summit
*Words on Terror, a 2016 poetry reading for the launch of Solmaz Sharif’s Look at the Asian American Writer’s Workshop, on the AAWW podcast
*Five artists you need to know, in Elle India (June 2018)
*I responded to Frieze’s survey on the importance of art as a form of protest (March 2017)
*Interview for the Guggenheim MAP about A Brief History of Collapses (May 2016)
*Interview with Sophia Guy-White about What we left unfinished for InRussia (December 2016)
*Interview with Owen Duffy in Artspace (September 2016)
*”Shahrazade in the Archives: A Testimony from Fragments” in Critical Writing Ensembles (Mousse, 2017).
*Portfolio in Frieze, September 2016.
*”Notes from a boycott” in Manifesta Journal 18, November 2014; reprinted in Shangri-La: Imagined Cities, 2014; and expanded in collaboration with Haig Aivazian for The Gulf: High Culture, Hard Labor (OR Books, 2015) and Assuming Boycott: Resistance, Agency and Cultural Production (OR Books, 2017). Bonus video: book launch panel at the Vera List Center.
*”Field notes for ‘What we left unfinished'” in Ibraaz Platform 006, December 2013; reprinted in Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (IB Tauris, 2015).