About

I’m the editor of Triple Canopy, a magazine based in New York, and a contributing editor of Bidoun, a magazine of the arts and culture of the Middle East and its diaspora. My writing has appeared in The Nation, The Believer, n+1, Bookforum, Art in AmericaArtforumFrieze, and in several exhibition catalogues.I’m the recipient of a 2015 Creative Capital | Andy Warhol Foundation Arts Writers Grant, and I was a 2013–15 fellow at the Vera List Center for Art and Politics at the New School. My work as an individual and with Triple Canopy has been presented at the 14th Istanbul Biennial, the 2014 Whitney Biennial, Swiss Institute (New York), Museum Tinguely (Basel), the 12th Bienal de Cuenca, the New Museum (New York) as part of “Surround Audience: The Generational Triennial,” the Museum of Modern Art (New York), the Museum of Contemporary Art Denver, MoMA PS1 (New York), Kunsthall Oslo, and Kunsthalle Wien (Vienna), and in the coming year will be presented at Tai Kwun Center for Heritage and Arts (Hong Kong), Museum of Contemporary Art Chicago, the RISD Museum (Providence), and the Hammer Museum (Los Angeles), where Triple Canopy is a 2018–2019 artist in residence. My sound work Measuring Device with Organs was recently published by Triple Canopy as an LP.

My work melds writing, art-making, editing, and publishing, and is primarily concerned with the relationships between representation, technology, and politics. In my critical writing and work with the magazine Triple Canopy, and in performances and multimedia projects, I explore the power of technological processes to comprehend and determine social conduct while asking how language and artistic work might interrupt these processes. In recent and current projects, I’ve been considering the role of sound and listening in relation to digital infrastructures, cultural representation, and democratic politics. (These projects include an illustrated lecture on the use of consumer-behavior data and neurobiology research in the production of pop songs that are guaranteed to be pleasing to as many listeners as possible; an LP that simulates the experience of an “expert listener” undergoing a test meant to determine what sound should sound like; and a series of conversations and listening sessions that asks how to listen in a way that makes us more receptive to one another, and ensures that a plurality of voices can be heard.)

Click here for my CV and use the contact form below if you’d like to get in touch.

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