Misc. writing for art publications
"Art criticism is too easy", feature for Paletten, print, winter 2019.
Reporting from India Art Fair, Harper's Bazaar Arabia, February, 2019 (Print only)
Curated By Florian Pumhösl, Meyer Kainer, Vienna, Die Springerin, Winter 2019.
Kochi-Muziris Biennial, ArtNews, March 2019.
Exhibitions & Catalogues
Catalogue essay:Travelling Light: on the contents of Jong Oh’s backpack, Jochen Hempel, Fall 2019
Catalogue Essay: Invisible Pictures: On the late Paintings of EW Nay for Aurel Scheibler, Summer 2019.
Exhibition Text: Kirstine Roepstorff and Matyas Chochola for Cermak/Eisenkraft, Prague, May 2019.
Profiles: Elaine Reichek, Anne Wilson, Reena Kallat in Vitamin T: Threads and Textiles, Phaidon, 2018.
Exhibition Text: Peter Voss-Knude at Grimmmuseum, Berlin, April 2018.
A drama-free sublime: On the work of Andreas Johnen, Catalogue essay, 2018.
Exhibition Text: Simon Brejcha & Martin Velisek at Cermak/Eisenkraft, Prague, March 2018.
Catalogue Essay: "Apocalypse, Style, Play: On the Art of Milan Kunc and Jiří Černický, Cermak / Eisenkraft Gallery, Prague, August 2017.
Artist's biographies: "Soft g", Schwules Museum, Berlin, 2017.
Wall Texts: "Gosh! Is it alive?", ARKEN Museum for Modern Art, Copenhagen, 2017.
Artist's Biographies: "The 8th Climate: What does art do?", Gwangju Biennial, 2016.
Talks and Lectures
Conversation with Vivian Greven, Galerie Aurel Scheibler, Berlin, October 2019.
Artist talk with Sandra Vaka Olsen, Stavanger Kunsthal, October 2019.
Writing workshop: "Art criticism as auto-fiction" at Bergen Kunsthal. October, 2019.
Panel discussion: Art criticism and a different view on Vienna's art scene, at Vienna Contemporary, 2019.
Talk: The Disintegration of the Critic, On Jill Johnston at Bergen Kunsthal, with Axel Wieder, Fiona McGovern and Megan Francis Sullivan.
Talk: "Art Criticism is Too Easy" at the conference Punctum Caesura: Art Criticism in the New Public Sphere, Nya Småland and the Swedish Art Foundation, November 2018.
Lecture: "Why I Can't Write Fiction": On real-life experiences and the question of presence in art and writing, for Nordens Biskops Arnö's Debutant Seminar. June 2018.
Lecture: "Using People": On appropriation of experience in art and literature, for the Museum of World Culture and Glänta, Gothenburg, November 2017.
This lecture was given subsequently at Grimm Museum, Berlin, Last Tango, Zürich, and the Index Foundation, Stockholm.
Doing Time is my graduate project from the Royal College of Art for which I was awarded that year's writing prize.
This book-length essay on prison correspondence and solidarity is partly published in Swedish translation by Glänta:
Chapter 1: Difference, Autumn 2016
Chapter 3: Time, Winter, 2018.
The primary rule of prison correspondence is this: do not promise anything you can’t keep. Yet there is the fact that the promise is mine to define to begin with; there is the impossibility of reconciliation and the inevitability of betrayal. For a year I have been corresponding with Michael, a stranger in a California prison. In the first letter I received from him each component of his story runs into the next like gunfire, a line of bullets with no punctuation, just the space of the fraction of a second. The effect was me sitting there at the other end with my mouth open; the expectation of surprise and its fulfilment. We’re so different, this is crazy. But that is the point, right, so we carry on.
"‘Doing Time’ is a magnificent and perfectly poised text based on the correspondence of the author with a Californian prisoner. From this ‘simple’ fact, extended reflections follow on the nature of difference, relationality, temporality, rehabilitation, hierarchies, injustices, privacy, ethics and erotics. The writing is self-assured, engaging and moves smoothly between personal reflection, theoretical, literary and cultural observation, intriguing images and genuinely explanatory material regarding Michael’s situation in prison in the broader context of mental health, violence and sexuality in the US carceral system. It is a serious and mature piece of poetic/prose writing that is beautifully structured and willing to face up to the ambiguities and asymmetries that such a project necessarily entails. One of its biggest strengths is the way in which complex and abstract ideas are given material focus and content without one side reducing or being reducible to the other … a highly skillful, authentic, well-researched and genuinely moving piece of writing that evidences great care and thought throughout."
- Nina Power.