Category Archives: Professor

Eben Kirksey

Eben Kirksey at at Zuchotti Park in 2011

Eben Kirksey studies the political dimensions of imagination as well as the interplay of natural and cultural history.  Duke University Press has published his two books—Freedom in Entangled Worlds (2012) and Emergent Ecologies (2015)—as well as one edited collection: The Multispecies Salon (2014).

Dr. Kirksey is perhaps best known for his work in multispecies ethnography—a field that mixes ethnographic, historical, ethological, and genetic methods to study spaces where humans and other species meet.  He first entered this field as an editor and curator.  “The Emergence of Multispecies Ethnography,” a special issue of Cultural Anthropology co-edited with Stefan Helmreich, situates contemporary scholarship on animals, microbes, plants, and fungi within deeply rooted traditions of environmental anthropology, continental philosophy, and the sociology of science.  Collaborations with bioartists, who work with living matter as their media, produced The Multispecies Salon, an edited book which brought together insights from the humanities on the microbiome, health, food, environmental justice, and synthetic biology.

Emergent Ecologies, his latest book monograph (Duke: 2015), explores how chance encounters, historical accidents, and parasitic invasions have shaped present and future multispecies communities.  The book asks: “How do certain plants, animals, and fungi move among worlds, navigate shifting circumstances, and find emergent opportunities?”  

Eben Kirksey first went to West Papua, the Indonesian-controlled half of New Guinea, as an exchange student in 1998. As a British Marshall Scholar at Oxford University, and a doctoral student under James Clifford at UC Santa Cruz, he later studied a popular indigenous political movement in West Papua.  Kirksey’s research morphed as he discovered that collaboration, rather than resistance, was the primary strategy of indigenous Papuan leaders. Accompanying indigenous activists to Congressional offices in Washington D.C., Kirksey saw the revolutionaries’ knack for getting inside institutions of power and building coalitions with unlikely allies.  Freedom in Engangled Worlds, his first book, blends ethnographic research with indigenous parables to illustrate visions of dramatic transformations on coming horizons.  Papuans have visions of a future when they will give away their natural resources in grand humanitarian gestures, rather than watch their homeland be drained of timber, gold, copper, and natural gas.

Princeton University hosted Dr. Kirksey as the 2015-2016 Currie C. and Thomas A. Barron Visiting Professor and he is currently an Executive Program Committee Member of the American Anthropological Association (AAA).

The books mentioned in the interview are Geoontologies by Elizabeth A. Povinelli and Testo Junkie by Paul B. Preciado.

Emergent Ecologies: Parasites from Multispecies Salon on Vimeo.

Laurie Palmer

Hohenmolsen coal mine, outside Leipzig, Laurie Palmer is on the right with camera.

Laurie Palmer is an artist, writer, and teacher currently employed in the Art Department at the University of California, Santa Cruz. Her work, which takes form as sculpture, installation, writing, and public art, is concerned with material explorations of matter’s active nature as it asserts itself on different scales and in different speeds, and with collaborating on strategic actions in the contexts of social and environmental justice.

Palmer collaborated with the artist group Haha for 20 years on site- and community-based projects, and more recently, with Chicago Torture Justice Memorials (CTJM), which helped win historic reparations legislation for African Americans tortured by Chicago police. Her book In the Aura of a Hole: Exploring Sites of Material Extraction (Black Dog, London, 2014) investigates what happens to places where materials are removed from the ground, and how these materials move between the earth and our bodies. The Lichen Museum is a work in progress.

Lichen Walk, 2015, Sector 2337 Chicago

Hole, 2010 – 2016

Anne-Marie Oliver / Barry Sanders

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Anne-Marie Oliver & Barry Sanders

Anne-Marie Oliver is a cultural theorist, photographer, and documentarian, whose projects occur at the intersection of art, religion, politics, and technology. Her work can be found in Critical Inquiry, Partisan Review, The International Journal of Comparative Sociology, and Public Culture, the Bulletin of the Center for Transnational Cultural Studies, the University Museum, the University of Pennsylvania, as well as Salon, The New Republic, and Le Monde diplomatique. She spent many years doing fieldwork and research in the Middle East, collecting and documenting the art, political ephemera, and underground media of the first intifada—work supported by the H.F. Guggenheim Foundation and, later, Harvard’s Center for Middle Eastern Studies. The result of that research was published by Oxford University Press in 2004 as The Road to Martyrs’ Square (with Paul F. Steinberg), and was a Quill Award nominee. She has given lectures at Columbia, Princeton, Stanford, the Carnegie Council for Ethics in International Affairs, the Muriel Gardiner Seminar on Psychoanalysis and the Humanities at Yale, Tufts, USC, and Harvard; and has appeared as a discussant on CNN, National Public Radio, the BBC, MSNBC, Air America, and Fresh Air with Terry Gross. Her current projects address the role of art and aesthetics in the 21st century, particularly in relation to invisible catastrophe; surveillance, proto-surveillance, and the experience of time; and notions of the intervention. She has carried out various art projects, individual and collective, at the Portland Institute for Contemporary Art’s TBA Festival, PDX Contemporary Art, and galleryHOMELAND, among others, and, in 2011, closed out the Visiting Artist Lecture Series at the Mason Gross School of Art at Rutgers. In 2013, she curated the show Infinity Device with Barry Sanders at the Historic Maddox Building in Portland, Oregon. She has taught at MIT, Georgia Tech, and the Hebrew University of Jerusalem, and has served as a guest critic at CalArts, the Tisch School of the Arts, NYU, and the University of the Arts London, among others. Along with Barry Sanders, she founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

Barry Sanders’ projects occur increasingly at the intersection of art and activism, and include The Green Zone: The Environmental Costs of Militarism, which Project Censored named one of the top-ten censored stories of 2009, and “Over These Prison Walls,” which invites collaborations between artists and incarcerated youth. He has twice been nominated for the Pulitzer Prize and is the author of fourteen books and over fifty essays and articles, including Sudden Glory: A Brief History of Laughter, Alienable Rights: The Exclusion of African-Americans in a White-Man’s Land, 1619-2000 (with Francis Adams), ABC: The Alphabetization of the Popular Mind (with Ivan Illich), The Private Death of Public Discourse, and A Is for Ox: The Collapse of Literacy and the Rise of Violence in an Electronic Age. His book-art projects include a collaboration with printmaker Michael Woodcock, Fourteen Ninety Two or Three, which won Honorable Mention in the Carl Hertzog Awards Competition for Excellence in Book Design, while his 2002 essay for Cabinet, “Bang the Keys Softly: Type-Writers and Their Dis-Contents,” has been reprinted in Courier (University Art Museum, SUNY) as well as Ghost in the Machine (New Museum). He has given presentations at the Los Angeles County Museum of Art (with Ivan Illich); the J. Paul Getty Museum; and the Portland Art Museum, among many others, and in 2013, curated the show Infinity Device with Anne-Marie Oliver at the Historic Maddox Building in Portland, Oregon. He was the first to occupy the Gold Chair at Pitzer College, where he taught, among other things, the history of ideas and medieval church iconography. Along with Anne-Marie Oliver, he founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

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Atta Kim, Caldera

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CT+CR Collective 2016, 4755.8 (Casting Our Glances across These Shores towards Fukushima-Daiichi on the 5th Anniversary of the Pacific Disaster)

Tirza Latimer

TL, UCPauthorportraitTirza True Latimer is Associate Professor and Chair of the Graduate Program in Visual and Critical Studies, California College of the Arts, San Francisco. Her published work reflects on modern and contemporary visual culture from queer feminist perspectives.

She is co-editor, with Whitney Chadwick, of the anthology The ModeEccentricModernisms_COVERrn Woman Revisited: Paris between the Wars (Rutgers University Press, 2003) and the author of Women Together / Women Apart: Portraits of Lesbian Paris (Rutgers University Press, 2005).

She is co-author, with Wanda Corn, of Seeing Gertrude Stein: Five Stories (University of California Press, 2011), companion book for an exhibition organized by the Contemporary Jewish Museum, San Francisco, in partnership with the National Portrait Gallery, Washington D.C.

Her latest book, Eccentric Modernisms: Making Differences in the History of American Art, forthcoming from UC Press, builds on archival research conducted for the Stein exhibition and book.

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Florine Stettheimer, Portrait of Virgil Thomson, 1930.

Michaela Wüensch​

stillpoint1Michaela Wünsch has taught Media Studies at Universität Wien, Freie Universität and Humboldt Universität in Berlin, Universität Potsdam, and University of California Riverside. From 2012-2015 she conducted a research project on repetition in psychoanalysis and television as Marie-Curie-Fellow at UC Riverside, UCLA and Universität Potsdam. She is a founding member of the publishing collective b_books and serves as the president of the Psychoanalytic Library Berlin, a space for psychoanalytic research and practice.

Publications include Im inneren Außen. Der Serienkiller als Medium des Unbewussten (Berlin: Kadmos, 2010), the edited volumes Angst. Lektüren zu Jacques Lacans Seminar X  (Wien: Turia+Kant, 2012) and Techniken angst_coverder Übereinkunft. Zur Medialität des Politischen (Berlin: Kadmos, 2009, with H. Blumentrath, K. Rothe, S. Werkmeister, and B. Wurm); FeMale HipHop. Realness, Roots und Rap Models (Mainz: Ventil 2007, with Anjela Schischmanjan), and Outside. Ein Reader zur Politik queerer Räume (Berlin: b_books 2005, with Matthias Haase and Marc Siegel).

Science and Psychoanalysis: Entropy from Freud to Lacan

The aim of this project is to analyse the status of science, and especially of physics and mathematics, in psychoanalysis. The project argues that the use of sciendiss_covertific models and theories by the psychoanalysts Sigmund Freud (1856-1939) and Jacques Lacan (1901-1981) did not constitute an effort to establish psychoanalysis as a science, but has to be considered a reflection of the scientific discourses prevalent during their respective lifetimes and furthermore as an intervention into science which aimed to modify the concept of ‘science’ itself. Psychoanalysis has always been situated at the margins of the sciences and humanities: its status was questioned from the beginning; the speculative character of Freud’s and Lacan’s writings violate and provoke scientific norms while deliberately risking failure within disciplinary boundaries. Nonetheless, the project wagers that Freud’s and Lacan’s interest in science and especially in the notion of entropy in thermodynamics offers a possibility to think the real. As Geneviève Morel suggests, science ‘is concerned with the real, and even more precisely, with finding some knowledge in the real’. What is called ‘entropy’ in thermodynamics as well as in information theory promises a possibility for measuring contingency and probability and is therefore of interest for a psychoanalytic approach to what is called the ‘real’ in psychoanalysis. The question is not if there is anything scientific about the ‘babbling practice’, but if psychoanalysis uses formal science, its calculative thinking, in form of scientific-style formalizations, topology and algebra to discover logic in the illogical (Adrian Johnston), to develop a materialist theory of subjectivity, or to grasp the moment in the singular analytic experience where the subject evades scientific logic.

John Hutnyk

John and TheodorJohn Hutnyk writes on culture, cities, diaspora, history, film, prisons, colonialism, education, Marxism. He studied and taught in Australia at Deakin and Melbourne Universities; and in the UK in Manchester University’s Institute for Creative and Cultural Research; before moving to Goldsmiths in 1998, and becoming Academic Director of the Centre for Cultural Studies in 2004-2014. He has held visiting researcher posts in Germany at the South Asia Institute and Institute for Ethnologie at Heidelberg Universpantoity, and Visiting Professor posts in InterCultural Studies at Nagoya City University Japan, Zeppelin University and Hamburg University, Germany, Sociology at Mimar Sinan University, Istanbul, Turkey and at the Graduate institute for Social Research and Cultural Studies, National Chiao Tung University, Taiwan. Adjunct Professor of RMIT University, Melbourne.

Bad marxismHis books include: “The Rumour of Calcutta: Tourism, Charity and the Poverty of Representation” (1996 Zed); “Critique of Exotica: Music, Politics and the Culture Industry” (2000 Pluto Press); “Bad Marxism: Capitalism and Cultural Studies” (2004 Pluto); “Pantomime. Terror: Music and Politics” (2014 Zero); and co-authored with Virinder Kalra and Raminder Kaur: “Diaspora and Hybridity” (2005 Sage). He have edited several volumes of essays, including “Dis-Orienting Rhythms: the Politics of the New Asian Dance Music” (1996 Zed, co ed with Sharma and Sharma); “Travel Worlds’ (1998 Zed co-ed with Raminder Kaur); editions of the journals ‘Theory, Culture and Society’ and ‘Post-colonial Studies’, and both a festschrift for Klaus Peter Koepping called “Celebrating Transgression” (2006 Berghahn, co-ed with Ursula Rao) and the phd colloquium volume “Beyond Borders” (Pavement books 2012). Next books = Global South Asia, Trinketization, Capital and Cultural Studies, Proletarianisation.

John Roberts

Columbia photo-3.aspx.jpegJohn Roberts is a Professor of Art & Aesthetics at the University of Wolverhampton, UK, and the author of a number of books including: The Intangibilities of Form: Skill and Deskilling in Art After the Readymade (Verso 2007), The Necessity of Errors (Verso, 2011), Photography and Its Violations (Columbia University Press, 2014), and Revolutionary Time and the Avant-Garde (2015). His Thoughts on an Index Not Freely Given is to be published by Zero Books in 2016. He lives in London.

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Morgan Croney

morgan-croneyMorgan Croney is an artist and technologist living in New York City. He received a B.A. from Davidson College in 2003 and a M.F.A. from the School of Visual Arts in 2005. In 2005 he founded Artcards.cc (Artcards), which aims to be a comprehensive listing of art events and believes in the importance of seeing art in person. Morgan was awarded a Swing Space from the Lower Manhattan Cultural Council and a Taliesin Artist Residency at the Frank Lloyd Wright Foundation. In 2008, he presented a solo show entitled “Math Rock” at HQ in Brooklyn, NY.

Artcards began as a personal project to visit every gallery in New York City. The project grew into a website, weekly email, and iPhone app with the help of artists, critics, and curators who have contributed to the project. Artcards has listed events in San Francisco, Los Angeles, Miami, London, and Berlin, and is currently active in New York. Artcards has published special editions for art fairs and has had a physical presence in art fairs including The Armory Show in New York, NADA in Miami, and PINTA in London.

Morgan’s current professional focus is on web technologies as a Senior Web Engineer at New York Media, the publisher of New York Magazine.

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Thought-Space No. 4 (Fragment); wood, gesso, ink; Morgan Croney, 2006.

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(unit plane series); ink, gesso, canvas, masonite, piano hinges; 4 x 4 feet (when flat); Morgan Croney, 2007.

Andrew Scott Ross

andrew_scott_ross_emoryAndrew Scott Ross is interested in how history is interpreted, recorded, and visualized. In efforts to act out his research, he has spent the past thirteen years creating an encyclopedic museum inspired by institutions that attempt to reflect all of human history, such as The Metropolitan Museum of Art, The Smithsonian, and Wikipedia.

A native New Yorker, Ross received his BFA from the Atlanta College of Art, and his MFA at the School of the Art Institute of Chicago. He subsequently studied at the Skowhegan School of Painting and Sculpture.

Ross has exhibited his work at The Museum of Art and Design in New York, The Guggenheim Museum in New York, The Museum of Contemporary Art of Georgia, The Kohler Art Center in Sheboygan, The Knoxville Museum of Art, and Ben Gurion Airport in Tel Aviv, Israel, amongst many others. His work has been reviewed in publications such as Art in America, The New York Times, The New Yorker, Sculpture Magazine, and the Village Voice. He spent this past summer in Geneva, Switzerland, working at the Utopiana Artist Residency program and taking part in the exhibition La Bête et l’Adversité at Le Commun gallery of the Building of Contemporary Art.

Currently, Ross is an Assistant Professor at East Tennessee State University where he teaches drawing and researches local lithic technology.

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Tilden and the Theban Hero (detail), Paper, 2013

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Century Zoo VII (detail), Mud, Paper, Charcoal, Paint, Wood, 2016

Gabriel Lester

Gabriel Lester 2015

Gabriel Lester 2015

Gabriel Lester was born in Amsterdam (1972). He currently lives and works in Amsterdam. His artworks consist of installations, performances and film/video. Other activities include commissioned artworks for the public space, film directing, teaching and writing.

Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These artworks seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it.

Learn more about PolyLester and How to Act.

Shopot, Moscow Biennale 2015

Shopot, Moscow Biennale 2015

Shopot is a performance where musicians play from inside a wall. They wear, as it were, a wall. Performed in Shanghai, Marrakech and Moscow, the work was born from an interest in thinking about the ubiquitous, near constant performances of self we maintain and enact in our networked reality. This sustained performance manifests as the subject always wanting to inhabit the space of the foreground, to be gazed upon. In contrast to this constant management of our profile, this performance attempts to use concealment as a methodology to contradict this trend. Perhaps it also hints at the strange contradiction between the anonymity of the producers of these objects that we use to perform these public selves, versus the innate desire within the selfie to be known, to be recognized.

Cousins, swcond hand walls @ Venice biennale 2013

Cousins, 2013, Forty-three walls and panels on loan from various European museums and institutes. Exhibited: Lithuanian and Cyprus Pavilions of the 55th Venice Biennale, Curated by: Raimundas Malasauskas

Cousins consists of 42 walls and wall panels, donated or provided on loan from various art museums and institutions from around the European Union. The walls were installed on the main pitch of an indoor sports arena in Venice. Amplified by the way the exhibition was arranged throughout the building (filling the main pitch, the hallways and stairwells, and amid the seating area of the arena), the visitors observing the work become actors intrinsic to its actualization. Arranged as both maze and stage—people interact with one another and the artwork. Each of the walls has a different pitch or tenor. As in a collage, or perhaps more aptly, a remix using samples, Cousins creates a type of exhibition architecture. Following an on-going strand in my work, it mimics the modality of film but consists instead of edits within space, deliberately creating a mise-en-scène, to guide the observer’s sight, and make visible unexpected views.

Emmanuelle Glon

Glon-E-3ansEmmanuelle Glon is currently working as scientific project manager in the School of Advanced Studies in Social Sciences in Paris (France). She received her PhD degree on philosophy of mind from University of Paris IV Sorbonne and Institut Jean Nicod in Winter 2004. Following her D.Phil she has been post-doc researcher in Queen’s College of Oxford, and then in the Berlin School of Mind and Brain (Humboldt Universität, Germany). In the same time, she was member of Centre Marc Bloch where she worked on the cinema industry and techniques in Nazi Germany.

Her research and publications in philosophy are mainly in three broad areas: (1) Pictures and Perception (2) Imagination, Fiction and Ethics (3) Art and empathy. Her last publication in English: “What movies say about the mind: Neuroscience, Intentional Action  and Rotoscopy”, Pragmatism Today, vol. 5, issue 2, Winter 2014. Her book: Cinéma dans la Tête. L’esthétique du film à la lumière des neurosciences, Bern, 2011. 196 p.

Not long ago, she presented sometimes his experimental videos in little French festivals. She hopes that she’ll be able to do it again.

Here is an extract of “Azote Blonde” (2011) in Festival “Images Contre Nature” (Marseille, France, 2012). Not just a biological constraint or a racist joke, the blonde girl sums up the long pop history of women in cinema.

Azote-Blonde

Cinema-Tete

Gabo Camnitzer

Gabo portraitGabo Camnitzer is an artist and educator based in Stockholm and Gothenburg, Sweden, where he is a lecturer in Fine Art at Valand Academy at Gothenburg University.

He has exhibited internationally at, Gertrude Contemporary Art Center, Melbourne, Australia. Exit Art, New York, USA. Bonniers Konsthall, Stockholm, Sweden, El Basilisco, Buenos Aires, Argentina, and Kunstsaele, Berlin, Germany, among others.

He is currently a research resident at the Royal Institute of Art in Stockholm, and sits on the editorial board of the Swedish art magazine, Paletten.

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Levitation of a Slice of Bread, 2014

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Still from the video Labolina and the Yellow Blobs, 2014

Warren Sack

_wsackWarren Sack is a media theorist, software designer, and artist whose work has been shown at SFMOMA (San Francisco), the Artport of the Whitney Museum of American Art (New York), New Museum of Contemporary Art (New York), Walker Art Center (Minneapolis), LABoral (Asturias, Spain), ZKM (Karlsruhe, German), the Impakt Festival (Utrecht, The Netherlands). He has been a visiting professor in France (at FMSH, Sciences Po, and Télécom ParisTech) and currently teaches digital arts and digital studies at the University of California, Santa Cruz. He has published recently “Image, nombre, programme, langage” (Digital Studies : Organologie des saviors et technologies de la connaissance, FYP éditions, 2014) and “Une Machine a Raconter des Histoires: De Propp aux Software Studies,” (Les Temps Modernes, novembre-décembre 2013).  He is working on a book for the MIT Press “Software Studies” series and is a member of the editorial advisory board for “Computational Culture: A Journal of Software Studies“.

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“Translation Map” (with Sawad Brooks) installation at the Walker Art Center, Minneapolis, MN (2003)

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“Agonistics: A Language Game” installation at the ZKM, Karlsruhe, Germany (2005)

Lucy Soutter

LUCY 22 LV doorstepLucy Soutter is an artist, critic and art historian.

She has written about contemporary art and photography for publications including AfterimageAperturePhotoworks and Source: The Photographic Review, among others. Her essays have appeared in publications including Girls! Girls! Girls! in Contemporary Art (Intellect, 2011), and Appropriation (Whitechapel Gallery and MIT Press, 2009) and she is the author of Why Art Photography? (London: Routledge, 2013). She teaches in the Department of Critical and Historical Studies at the Royal College of Art, London.

For more information mentioned in the interview, find her on Twitter, see her book, Source Magazine, and a version of the book’s first essay.

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Elisabeth von Samsonow

Portrait Elisabeth von Samsonow

Elisabeth von Samsonow performing “Living Currency” (Thessaloniki), (c) Daniela Hölzl

Elisabeth von Samsonow is a Vienna based artist and philosopher. She has run the miniature circus “Hieronimus” after her studies, and started teaching philosophy at the Ludwig-Maximilian-University in Munich.

She was a guest student to the studios of Eduardo Paolozzi and Daniel Spoerri who had held chairs at the Munich art academy that time. When she moved to Vienna in 1991 she continued giving courses in philosophy at the University of Vienna and developed her artistic practice in different fields, mainly sculpture. She holds the chair of Philosophy and Anthropology of Art at the Academy of Fine Arts Vienna since 1996.

Her recent works comprise installations, videos and performances arranged around her sculptures, for example “Xylo Twittering“ (Berlin 2013), “The Nervous System of the Earth“ (Vienna 2014), “Living Currency” (Thessaloniki 2014) and “Horse’s Glory“ (Vienna 2015).

She is preparing the collective volume “Epidemic Subjects – Radical Ontologies“ to come out in spring 2016 (Diaphanes Press Zurich-Berlin and Chicago University Press), and a book on Egon Schiele (Enzyklopädie des Wiener Wissens, Bibliothek der Provinz Press 2016).

Her book Anti Electra. Totemism and Schizogamy” has been translated into french (Metis Presses Geneva 2015) and is actually translated into english (Univocal Press Minnesota 2016).

She is producing a monthly philosophical TV Show “Studio Elektra” for OKTO TVHer upcoming solo Show is entitled TRANSPLANTS.

Urpflanzen Aria, Goethe Institute, Barcelona 2014 Foto Wolfgang Thaler

Urpflanzen Aria, Goethe Institute, Barcelona 2014 Foto Wolfgang Thaler