My text- and research-based practice spans performance, lecture-performance, poetry, video, translation, and multi-media and queer-feminist collaborations. I explore how text and the act of reading can be visualised and translated into movement, sound, space, costume, and performative objects. How can, for example, the body become a publishing platform, and how can we be choreographed by language? Formally and tonally, I’m interested in the tangibly difficult, the whimsical and witty, in polyrhythms, tactility and materiality, lush abstraction, sonic pleasure, performative poise, and conceptual rigour, and in writing and thinking through source materials as a serious dialogue with other voices. My polyphonic investigations are also about listening. I’m dedicated to an attentive politics that recognises that aesthetic forms are never unburdened, but enmeshed with our complex and complicit relations with(in) the world. 

I’ve performed, exhibited, and given talks at [ SPACE ], the Royal Academy, the Drawing School, Art Night 2018 and Art Night 2019, Raven Row, Bold Tendencies, the Serpentine, Parasol Unit (all London), Taller Bloc (Santiago, Chile), SAAS-Fee Summer Institute of Art (Berlin), the Arnolfini (Bristol), Company Gallery, Issue Project, Printed Matter, and La MaMa Galleria (all NYC), the Flemish Arts Centre De Brakke Grond (Amsterdam), JNU (New Delhi, India), Taller Bloc (Santiago, Chile), New Hall Art Collection, Kettle’s Yard (both Cambridge), Cité Internationale des Arts (Paris), and elsewhere. Currently, I’m working on a public art project with Naomi Woo, funded by the British Council, Canada Council for the Arts, Farnham Maltings, and The High Commission of Canada in the UK.

I am the author, most recently, of Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital (Stanford University Press, 2019), The Gracious Ones (Earthbound Press, 2020), My Little Enlightenment Plays (Pamenar Press, 2020), My Little Enlightenment: A Lecture Performance (Other Forms, 2019), Transpositions (artist book, 2018); the translator of Uljana Wolf’s Subsisters: Selected Poems (Belladonna*, 2017) and the editor of The Blind Man, named one of the Best Art Books of 2017 by the New York Times. I previously taught at the University of Cambridge and am now an Assistant Professor at Boston University and co-organise the interdisciplinary .Sound/Text seminar at Harvard. In 2020-2021, I’m one of 9 artists on the Constellations artist development programme run by UP Projects and Flat Time House; and an Eccles Fellow at the British Library.


Sophie Seita

Sophie Seita performing
Katarzyna Perlak

This composer has self-identified as LGBTQ+ - part of a platform intervention celebrating LGBTQ+ History Month 2021.

Through it we want to create a safe and inclusive digital space that allows for greater representation, celebration and recognition of LGBTQ+ composers and music-creators, whilst bringing their work to a wider audience.

Last edited by: SaM Editor