Reading @ The Poetry Project for The Allen Ginsberg Symposium - May 3

States of Play: Roleplay Reality @ FACT Liverpool

If you're in Liverpool, I'm in an exhibition @ FACT museum. 

Here's some info: 

This interactive exhibition considers how roleplay - found in many video games - can be used as tactic to reflect, contest and move beyond real-world power structures. No longer to be understood merely as a place of escape, the game realm and the ‘real world’ have collided. 

"States of Play: Roleplay Reality is, hands down, the most emotionally effecting exhibition I’ve seen. From start to finish it is immersive, uncomfortable, upsetting, relatable, relaxing and terrifying. It’s a brilliant exhibition" - Art in Liverpool

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Image credits: FACT, States of Play: Roleplay Reality, 2018. Photo by Jon Barraclough.

Segue - March 24

I'm reading with Darcie Wilder for Segue @ Zinc Bar on Saturday the 24th of March from 4:30pm - 6:30pm :) 

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82 WEST 3rd STREET, BETWEEN THOMPSON AND SULLIVAN STS. 
NEW YORK CITY

$5 admission goes to support the readers

Something's Come Between Us @ Songs for Presidents in Brooklyn

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Opening Saturday Oct 14th, 6pm - 9pm

October 14th - November 12th

“This quasi-object is not an object, but it is one nevertheless, since it is not a subject, since it is in the world; it is also a quasi-subject, since it marks or designates a subject who, without it, would not be a subject.” - Michel Serres

Songs for Presidents is pleased to present Something’s Come Between Us, curated by Sessa Englund, opening the fourth season in our space at 1673 Gates. Something’s Come Between Us explores the theory of the quasi-object as put forward by Michel Serres as it relates to passive objects, vulnerability and aggression, through the works of Rindon Johnson, Jes Fan, Victoria Haynes, Hanna Umin and Sessa Englund. Vulnerability is something that not everyone is afforded. It’s something to be measured, protected, and deployed; it is something that can be superimposed, consented to, and also used as a defense. The objects we create and employ to lengthen the distance between our bodies and our vulnerability allows for more breathing room; they allow us to control this distance, to deflect it, reposition it or beckon it closer. The object as a revealing trait of its sculptor, as an indicator of the identity of the artist, or as evidence of lived experiences or of hidden depths, resonates with Serres’ proposal.