Lauren Berlant [FN001] is George M. Pullman Professor of English at the University of Chicago. She is the author of The Female Complaint: The Unfinished Business of Sentimentality in American Culture and The Queen of America Goes to Washington City: Essays on Sex and Citizenship, as well as The Anatomy of National Fantasy: Hawthorne, Utopia, and Everyday Life.
Malcolm Bradley [FN001] is an artist living and working in London. Previous projects include Artlicks Weekend Radio & RTM FM: Submission with Corelli Hotel, 2019, Stalker, Foundation B.a.d, Rotterdam, 2015, Private Dancer, Wolfart Projectspace, Rotterdam, 2015. In 2015 he worked on the Brighton School Project public art commission with Spacemakers agency.
Matthias Connor [FN001] is a writer living in South London. He works as a nurse in north London. He has previously written a number of self-published works under his own DIY imprint, Poppy Books. A selection of these were collected together by De Stijl Records in the USA in 2011. He is currently writing a memoir about the criminal justice system.
Amparo Dávila [FN001] has published several collections of short stories and for a time worked as Alfonso Reyes’s secretary. In recent years a massive resurgence of interest has acknowledged her as one of Mexico’s finest masters of the short story. Awarded the Xavier Villaurrutia Prize in 1977, she was honoured with the Medalla Bellas Artes in 2015.
Rob Halpern [FN001] is a poet, translator and essayist. He earned his PhD from the University of California, Santa Cruz. He is the author of the poetry collections Rumored Place (2004), which was nominated for the California Book Award; Disaster Suites (2009); Music for Porn (2012); Common Place (2015); and [————]Placeholder (2015). He co-wrote the book-length poem Snow Sensitive Skin (2011) with Taylor Brady.
Estelle Hoy [FN001] is a writer and critic based in Berlin. Her second book, Pisti 80 Rue de Belleville (After 8 Books, 2020) was just released, with an introduction by Chris Kraus. Her forthcoming book, Midsommer, co-written with Sabrina Tarasoff, is scheduled for release with Mousse Publishing in spring 2021.
Patrick Keiller [FN001] is a filmmaker, writer and lecturer. His book London, based on his 1994 film of the same name, was published by FUEL in 2020. His other films include Robinson in Space (1997), also a book (1999) and Robinson in Ruins (2010), expanded as The Robinson Institute, an exhibition at Tate Britain in 2012. patrickkeiller.org
Wytske van Keulen [FN001] works predominantly on long-term documentary projects. In 2008 she self-published the book We would come to doubt everything. And almost everyone would come to doubt, in 2014 her second book Sous cloche was published by Kominek Books, Berlin. Her work has been shown nationally and internationally and she has worked as an Artist in Residence at KAIR in Kamiyama, Japan, Le Chateau d’Eau in Toulouse, France and at MING Studios in Boise, Idaho. Currently, Wytske is working on a new publication titled Stick Holding Branch combining photographs made between 2014 and 2019 in The French Pyrenees, Japan and Idaho.
Emily Hunt Kivel [FN001] is a writer. Her fiction appears or is forthcoming in The Paris Review, The New England Review, Washington Square Review, Volume I Brooklyn, Midnight Breakfast, and The Nervous Breakdown among others. She is the author of the poetry chapbook John Travolta Considers His Odds (2016, Whitehorse & Slaughter) and is completing her first novel. She has taught creative writing and composition at the University of Texas at the Permian Basin and Columbia University, where she received a De Alba fellowship in fiction.
Eloise Lawson [FN001] is an artist based in London.
Karen Leeder [FN001] is a writer, critic and prize-winning translator of German literature including work by Durs Grünbein, Volker Braun, Michael Krüger, Evelyn Schlag and Raoul Schrott. Her translation of Ulrike Almut Sandig’s Thick of it (Seagull Books, 2018) won an English PEN award and an American PEN/Heim award, and was runner up for the Schlegel-Tieck Prize of the Society of Authors (2019). Her most recent translation is Ulrike Almut Sandig’s I am a field of rapeseed, give cover to deer and shine like thirteen oil paintings laid one on top of the other, (Seagull Books, 2020).
Sarah Mangold [FN001] is the author of the forthcoming Her Wilderness Will Be Her Manners (Fordham, 2021), Giraffes of Devotion (Kore), Electrical Theories of Femininity (Black Radish), and Household Mechanics (New Issues). She lives near Seattle, WA and is working on a book of poems about the life and work of Swedish artist Hilma af Klint. sarahmangold.com
Wythe Marschall [FN001] is a PhD candidate anthropologist in the Department of the History of Science at Harvard University, as well as a research associate in controlled environment agriculture (CEA, or “vertical farming”) at Cornell University. His research examines how corporations, activists, and publics imagine social and technical solutions to ecological crises, with a focus on agriculture.
David Manley [FN001] is an artist fascinated with history, conspiracy theories and the interconnectivity of things. As artist-in-residence at Hart Club - an organisation championing neurodiveristy in the arts, since early 2020 - he has been working alongside artist James Randell on the project 'Believe Or Not To Believe'.
Helen Marten [FN001] was awarded the Tate Turner Prize in 2016. Marten works across sculpture, print, video and writing to create a body of work that through its juxtaposition of high and low, serious and comedic, made and found, questions the stability of the material world and our place within it. Alluding to ideas, systems and experiences, her work across all media sets out to articulate complex ideas about the way in which we exist in and understand the world around us.
Zara Joan Miller [FN001] is a poet and artist. Recent contributions include MAP and Another Gaze. Her films include Soft Rio (Marseille Underground Film Festival, Marseille, France, 2021; Rio Cinema, London, UK, 2021), horsecity (xviix.com, 2020; Centre of Gravity, Bristol, UK, 2020) and Four Dances (Takuroku, 2021) – a film & piano collaboration with Billy Steiger. Zara co-programmes the sound/movement series CEREBELLUM with Evie Ward which took the form of a Cafe OTO livestream in April 2021 following a collaboration with Florence Peake. zarajoanmiller.com
Juliette Pépin [FN001] is an artist, creative writer, mud mason in training and co-creator of the micro-publishing house Bernard Georges Editions. Her work oscillates between digital moving image, sculptural installations and participatory interventions in both public and private spaces. Recent shows include a video commission from Blindside Gallery Melbourne, an AI piece Loss=“binary_crossentropy” at Enclave Gallery London (Uk); she has showed works at the Oxford Art-Science Conference 2019; and at Z33 (Belgium), Luma Arles (France) and the Pera museum (Istanbul) as part of the group show A school of schools.
Ben Rivers [FN001] is an artist and filmmaker represented by Kate MacGarry Gallery. Awards include the EYE Art Film Prize; FIPRESCI International Critics Prize, Venice Film Festival for his first feature film Two Years At Sea; Baloise Art Prize, Art Basel; Paul Hamlyn Foundation Award for Artists; twice winner of the Tiger Award at Rotterdam Film Festival; Radcliffe Fellowship, Harvard University. He recently collaborated with Anocha Suwichakornpong on the feature film Krabi, 2562.
Ulrike Almut Sandig [FN001] has written four volumes of poetry. She is a notable performer and often works with filmmakers, sound artists and musicians and her CD with poetry band LANDSCHAFT appeared in 2018. She has won most recently the Wilhelm-Lehmann-Prize, the Horst-Bingel-Prize (2018), the Erich Loest Prize (2021) and the Roswitha prize (2021) for her novel Monsters like us (2020).
Kathleen Stewart [FN001] writes and teaches on affect, the ordinary, the senses, and modes of ethnographic engagement based on curiosity and attachment. Her first book, A Space on the Side of the Road: Cultural Poetics in an `Other' America (Princeton University Press, 1996) portrays a dense and textured layering of sense and form laid down in social use. Ordinary Affects (Duke University Press, 2007) maps the force, or affects, of encounters, desires, bodily states, dream worlds, and modes of attention and distraction in the composition and suffering of present moments lived as immanent events.
Ana Vaz [FN001] is an artist and filmmaker born in the Brazilian highlands inhabited by the ghosts buried by its modernist capital: Brasília. Originally from the cerrado and wonderer by choice, Ana has lived in the arid lands of central Brazil and southern Australia, in the mangroves of northern France and in the northeastern shores of the Atlantic. Her filmography activates and questions cinema as an art of the (in)visible and instrument capable of dehumanising the human, expanding its connections with forms of life — other than human or spectral. Consequences or expansion of her cinemato-graphy, her activities are also embodied in writing, critical pedagogy, installations or collective walks. Recent screenings of her work include: Berlinale Forum Expanded, MAM São Paulo, IFFR, Tate Modern, Palais de Tokyo, Jeu de Paume, LUX Moving Images, New York Film Festival.
Lulu Wolf [FN001] is an artist based in Lisbon.
Editor: Bella Marrin
Arts Editor: Natasha Cox
Poetry Editor: Isabel Mallet
Editor-At-Large: Joachim Hamou
Art Direction & Design: Sophie Demay & Maël Fournier-Comte [in the shade of a tree]
Contributing Editors: Thomas Forster, Keira Greene, Lauren Houlton, Ffion Jones, Sarah Pearson, Hannah Phillips, Monika Rossiter, Elaine Tam
Typefaces: Feld & Strike, by Maxime Fittes (MA-MA Type Foundry) Plantin by Frank Hinman Pierpont
Trustees: Thomas Forster, Evie Jeffreys, Bella Marrin