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“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

“Wetland-ing: Terrains for Collaboration” emerges from a four year collaborative project involving twelve artists thinking through urban wetlands as a metaphor for artistic research. The publication is available as a limited edition print and free to read online via @are.na. Contextualised and presented through the writing of @elida.silvey, the work brings together a series of ‘precipitations’ from a period of conversation and collective thinking. This process unfolded through online exchanges and in-person gatherings, including a residency across the wet and dry zones of Sri Lanka in 2023.

For more information and to read the full publication, visit: https://www.are.na/wetland-ing/channels

This project was made possible by the kind support of the Swiss Arts Council @prohelvetia_newdelhi as a part of its “To-Gather” project

Contributing Artists

Zahra Malkani @zahrammm
Tashaynna Handy @tashy_anna
Shahana Rajani @shanzroll
Sandev Handy @sandevhandy
Roman Selim Khereddine @rs_khereddine
Omer Wasim @owasim
Meghal Perera @meghal92
Jackie Poloni @yantanministry
Gil Schneider @gilschneider
Firi Rahman @ifiri
Debora Joyce Holman @deborahjoyceholman
Abdul Halik Azeez @colombedouin

Writer - Elida Silvey @elida.silvey
Editors - Abdul Halik Azeez, Sandev Handy, Jackie Poloni, Elida Silvey
Design - Sandev Handy, Mayun Kaluthantri @mayunkalu
Production coordination - Mayun Kaluthantri

📸 - @tamaraseilman

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

Wrote about Sarah Charlesworth’s stunning series ‘Stills’ through my obsession with time. I dusted off my high school physics notes and dove into the deep end. I was trying to figure out through her work, why I feel so comforted with images of something that should otherwise be shocking or even morbid and it hit me — time is one of the only concepts, as if it were a form of philosophy itself, that can make my anxieties and fears feel insignificant enough to no longer matter. In Charlesworth’s ‘Still’ I’m reminded I’m nothing in comparison to the great vastness of the universe while also remaining bound by the same rules that apply to it all.

Massive massive thank you to @arcadiamolinas for taking the time to listen, guide me and believe in the vision and for @w0rms.w0rld who always strive to make space for people like me. Give it a read in the Wormhole in the link in my bio and check out more of their great work while you’re at it. ❤️‍🔥🔗

WORMS artwork by the incredibly talented and super cool @caitlin_mcloughlin_

April’s interjection features the short-story ‘Chemotaxis on a Zebra Crossing’ by Elida Silvey. As the protagonist’s fictional senses are enhanced, so are their real anxieties. Available in the link in bio. 🔗

Guest edited by Racheal Crowther.

Elida Silvey is a self-taught Mexican-American writer, editor and artist living in London. Her work is concerned with post-internet visual theory as it relates to the concepts of reality, time and ‘the self,’ experienced through (collective) memory. She regularly writes in experimental forms about this topic on her Substack, Through the Eye of a Needle. She is the assistant editor for Montez Press and runs her own writing/visual arts club called Exteriors.

Image Description: A series of screenshots stating — “Chemotaxis on a Zebra Crossing’, Elida Silvey, a section of the story read out loud by Elida, another section near the end and finally a link to access the full text.

April’s interjection features the short-story ‘Chemotaxis on a Zebra Crossing’ by Elida Silvey. As the protagonist’s fictional senses are enhanced, so are their real anxieties. Available in the link in bio. 🔗

Guest edited by Racheal Crowther.

Elida Silvey is a self-taught Mexican-American writer, editor and artist living in London. Her work is concerned with post-internet visual theory as it relates to the concepts of reality, time and ‘the self,’ experienced through (collective) memory. She regularly writes in experimental forms about this topic on her Substack, Through the Eye of a Needle. She is the assistant editor for Montez Press and runs her own writing/visual arts club called Exteriors.

Image Description: A series of screenshots stating — “Chemotaxis on a Zebra Crossing’, Elida Silvey, a section of the story read out loud by Elida, another section near the end and finally a link to access the full text.

April’s interjection features the short-story ‘Chemotaxis on a Zebra Crossing’ by Elida Silvey. As the protagonist’s fictional senses are enhanced, so are their real anxieties. Available in the link in bio. 🔗

Guest edited by Racheal Crowther.

Elida Silvey is a self-taught Mexican-American writer, editor and artist living in London. Her work is concerned with post-internet visual theory as it relates to the concepts of reality, time and ‘the self,’ experienced through (collective) memory. She regularly writes in experimental forms about this topic on her Substack, Through the Eye of a Needle. She is the assistant editor for Montez Press and runs her own writing/visual arts club called Exteriors.

Image Description: A series of screenshots stating — “Chemotaxis on a Zebra Crossing’, Elida Silvey, a section of the story read out loud by Elida, another section near the end and finally a link to access the full text.

April’s interjection features the short-story ‘Chemotaxis on a Zebra Crossing’ by Elida Silvey. As the protagonist’s fictional senses are enhanced, so are their real anxieties. Available in the link in bio. 🔗

Guest edited by Racheal Crowther.

Elida Silvey is a self-taught Mexican-American writer, editor and artist living in London. Her work is concerned with post-internet visual theory as it relates to the concepts of reality, time and ‘the self,’ experienced through (collective) memory. She regularly writes in experimental forms about this topic on her Substack, Through the Eye of a Needle. She is the assistant editor for Montez Press and runs her own writing/visual arts club called Exteriors.

Image Description: A series of screenshots stating — “Chemotaxis on a Zebra Crossing’, Elida Silvey, a section of the story read out loud by Elida, another section near the end and finally a link to access the full text.

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

He didn’t know, he said, he didn’t know. Where does anyone start with a thing like that, how does one make something out of nothing if the body—being of the body and mind, in communion—was where it came from? Not the body or mind exactly but the movement between them, the synaptic jump, the verb of it, the act which is unintentional only in the fact it does not intend for anything but is inspired by the very being of experience? By the muscle memory of it? How, he said, looking at the canvas with his usual sadness. Beginning was the hardest part.

{S2} ‘Grapefruit Juice’ — Yoko Ono
{S3} @phoenixyemoja houses from Twelve Acts of Shelter last month
{S4} ‘Memory’ — Bernadette Mayer
{S5} ‘Solo Show’ — John Smith
{S9} ‘On Photography’ — Susan Sontag
{S14} ‘The Scent of Time’ — Byung-Chul Han

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Thanks to everyone who joined us for a sold out ‘The Interjection Calendar 011’ launch at Chisenhale. We heard excerpts from the IC011 by Racheal Crowther, Bishwandhai Rai, Ethan O’Connor, Eilidh Duffy and Elida Silvey. And smelt a collaborative scent produced with the IC011’s miasma in mind by Racheal Crowther and Cherry Chang from Jouissance. 

Couldn’t make it? Grab your copy in the link in bio or join us at Claire de Rouen for the 21st May. 🔗

Racheal Crowther’s exhibition ‘Liquid Trust’ is on at Chisenhale until 14th June, catch a whiff of it before it ends.

Photographs by Anne Tetzlaff via Chisenhale.

Image description: A series of photographs depicting; a hand holding the IC011; Rachealreading from her editor’s note; Hasti introducing the event; Bishwandhai reading from his contribution; followed by Elida; Ethan; and Eilidh reading from theirs; a crowd post-readings; hands snagging copies; flipping through the pages of the IC011.

Couldn’t make it to Chisenhale last week? Join us at Claire de Rouen’s new location in Hoxton for a conversation with Racheal Crowther, guest editor of the Interjection Calendar 011, and Eilidh Duffy, chaired by Elida Silvey. 

We’ll look at the coercive capabilities of scent, their use in militarized systems and the scope of scent-related work explored within the IC011. RSVP in the link in bio to join. 🔗

Copies of the calendar will be available to purchase on the night alongside a limited edition scented bookmark, co-developed by Racheal Crowther and Cherry Cheng from Jouissance.

Image Description: A two-page bookmark stating:

The Interjection Calendar 011 at Claire de Rouen
Featuring a conversation with Racheal Crowther and Eilidh Duffy, hosted by Elida Silvey
11A Kingsland Road, E2 8AA.

Couldn’t make it to Chisenhale last week? Join us at Claire de Rouen’s new location in Hoxton for a conversation with Racheal Crowther, guest editor of the Interjection Calendar 011, and Eilidh Duffy, chaired by Elida Silvey. 

We’ll look at the coercive capabilities of scent, their use in militarized systems and the scope of scent-related work explored within the IC011. RSVP in the link in bio to join. 🔗

Copies of the calendar will be available to purchase on the night alongside a limited edition scented bookmark, co-developed by Racheal Crowther and Cherry Cheng from Jouissance.

Image Description: A two-page bookmark stating:

The Interjection Calendar 011 at Claire de Rouen
Featuring a conversation with Racheal Crowther and Eilidh Duffy, hosted by Elida Silvey
11A Kingsland Road, E2 8AA.

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

To write a book, it seems, is to cannibalize all of your experiences. To allow your own being to seep into its sentences. To hold it in your body for as long as it needs to gestate.

{S2} ‘I Paint What I Want to See’ — Philip Guston
{S4} ‘Writing(s)’ with texts by Claire-Louise Bennett, Marguerite Duras and Dorothy Spencer, published by Joan Publishing. 
{S7} ‘Sculpting in Time’ — Andrey Tarkovsky
{S8} ‘Fugue’ (1998) — Georges Schwizgebel
{S10} ‘The Doors of Perception and Heaven and Hell’— Aldous Huxley
{S12} Ocean Vuong interviewed by David Perell in ‘How I Write’

Join us for the launch of ‘The Interjection Calendar 011’ at Chisenhale on Wednesday 29th April from 7-8:30pm. The night will feature readings by Racheal Crowther, guest editor of the ‘IC011,’ Eilidh Duffy, Ethan O’Connor, Bishwadhan Rai, and Elida Silvey. RSVP in link in bio 🔗

Copies of the calendar will be available to purchase on the night alongside a scented bookmark, co-developed by Racheal Crowther and Cherry Cheng. 🔖

Racheal Crowther’s ‘Liquid Trust’ will be on view at Chisenhale from 16 April until 14 June 2026.

Image Description: The Interjection Calendar 011 Launch, 29th April 7-8:30pm. Chisenhale E3 5QZ. Featuring readings by Racheal Crowther, Eilidh Duffy, Ethan O’Connor, Bishwadhan Rai, Elida Silvey.

Join us for the launch of ‘The Interjection Calendar 011’ at Chisenhale on Wednesday 29th April from 7-8:30pm. The night will feature readings by Racheal Crowther, guest editor of the ‘IC011,’ Eilidh Duffy, Ethan O’Connor, Bishwadhan Rai, and Elida Silvey. RSVP in link in bio 🔗

Copies of the calendar will be available to purchase on the night alongside a scented bookmark, co-developed by Racheal Crowther and Cherry Cheng. 🔖

Racheal Crowther’s ‘Liquid Trust’ will be on view at Chisenhale from 16 April until 14 June 2026.

Image Description: The Interjection Calendar 011 Launch, 29th April 7-8:30pm. Chisenhale E3 5QZ. Featuring readings by Racheal Crowther, Eilidh Duffy, Ethan O’Connor, Bishwadhan Rai, Elida Silvey.

Join us on 9 April for a Crit Circle led by writer, editor and artist @elida.silvey, part of SET 91’s new Open Series programme.

Elida’s practice explores visual culture, identity and memory. She is an Editor at @montezpress and co-runs @dream_sequence_london, an experimental film club focused on non-linear and hybrid cinematic practices.

This session offers a supportive, discussion-led space for artists and writers to share work in progress and receive feedback. Participants can join as ‘readers’ (sharing work) or ‘listeners’ (contributing to critique).

Date: 9 April, 6-9pm
Location: SET 91, 91 Tabernacle, Old Street
Capacity: 15 participants
- 7 reader slots
- 8 listener slots
Pay what you can (suggested £5 donation)

📕 Reader guidelines 📕
– Up to 1,000 words of text, or
– Up to 5 minutes of video/moving image

**As places are limited, we kindly ask that you only book if you are able to attend so that others who would benefit from the session are able to take part.

If you can no longer attend, please cancel your ticket and contact us at ninetyone@setspace.uk so the space can be offered to someone else.**

🔗 Head to link in bio for more details & book a spot

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

The birds are singing again. They open their little mouths and spit out the morning from inside them. The sun peaks out from behind the clouds in response. Hope is in the belly of a robin.

{S2} ‘On Keeping a Notebook’ — Joan Didion
{S3} ‘I Paint What I Want to See’ — Philip Guston
{S5} ‘Dispersed Events’ — Nick Mauss
{S6} ‘When White Blankets’— Nina Maria Allmoslechner
{S7} ‘Björk and Robin Wall Kimmerer: Artists on Writers’ via Artforum’s YouTube
{S8} ‘How Susan Sontag Taught Me to Think’ — A. O. Scott
{S11} ‘Summer Light: A Failed Essay in Four Parts’ — Jake Skeets

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Reflecting on the unchecked deployment of U.S. Immigration and Customs Enforcement across US cities, Elida Silvey curates a selection of art, books and music as an offering to you, to sit with and make sense of, in the hopes of generating a sense of release.

“Perhaps, like Etel Adnan writes, there is a strange desire within all of us to matter, to matter as anyone ought to matter, and the act of saying hello is a way of extending that to others. As if to say, witness me and I’ll witness you.

This letter is my way of saying hello to you. I am here: a child of two illegal immigrants who deserved, then, as those in the US do now, to have their own realities to live for. If I am here, and you are here reading this with me, then we are in this together.”

Read now in full on The Wormhole over at www.wormsmagazine.com 💚

Got some film back. I’ve grown this habit of keeping my shot rolls of film for months before developing them in clusters—partially because of finances but also to surprise myself with what catches my eye on my day to day. Here’s the last three to four-ish months.