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Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino
@galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Love in the Paleolithic series, oil on canvas, now on show at Casa di Marino @galleria_umberto_di_marino

Opening this weekend @galleria_umberto_di_marino First show of paintings from my series Love in the Paleolithic:

“Alone for months in a large house offered by Luma Foundation in Arles, in the south of France, close to where Neanderthal remains are found, I painted the Côa drawing from memory. And then researched for other prehistoric sexual images, painting variations of each one, trying to become intimate with them. There aren’t many that we know of: a couple of rock drawings in Val Camonica in the Italian Alps; others in Scandinavia. Some are also images of sex between humans and animals; others of two humans embracing.

We are living in confusing times right now. And sometimes we find ourselves alone asking, what has all this intelligence led to? To move forward with hope, humanity, and desire, I have to go back to the beginning. To what made us humans to begin with. And to sex and to love.“

Opening this weekend @galleria_umberto_di_marino First show of paintings from my series Love in the Paleolithic:

“Alone for months in a large house offered by Luma Foundation in Arles, in the south of France, close to where Neanderthal remains are found, I painted the Côa drawing from memory. And then researched for other prehistoric sexual images, painting variations of each one, trying to become intimate with them. There aren’t many that we know of: a couple of rock drawings in Val Camonica in the Italian Alps; others in Scandinavia. Some are also images of sex between humans and animals; others of two humans embracing.

We are living in confusing times right now. And sometimes we find ourselves alone asking, what has all this intelligence led to? To move forward with hope, humanity, and desire, I have to go back to the beginning. To what made us humans to begin with. And to sex and to love.“

Opening this weekend @galleria_umberto_di_marino First show of paintings from my series Love in the Paleolithic:

“Alone for months in a large house offered by Luma Foundation in Arles, in the south of France, close to where Neanderthal remains are found, I painted the Côa drawing from memory. And then researched for other prehistoric sexual images, painting variations of each one, trying to become intimate with them. There aren’t many that we know of: a couple of rock drawings in Val Camonica in the Italian Alps; others in Scandinavia. Some are also images of sex between humans and animals; others of two humans embracing.

We are living in confusing times right now. And sometimes we find ourselves alone asking, what has all this intelligence led to? To move forward with hope, humanity, and desire, I have to go back to the beginning. To what made us humans to begin with. And to sex and to love.“

Happy to announce a humble yet significant exhibition for me at @galleria_umberto_di_marino opening during Napoli art week. A domestic show at Casa di Marino, showcasing a series of 16 or so paintings titled Love in the Paleolithic—all of which based on prehistoric sex drawings, several of which between humans and animals!

I have a lot to say & show about this “love” and you’ll hear all about it soon—for now, an oil on canvas treat. Thank you Di Marino!

Happy to announce a humble yet significant exhibition for me at @galleria_umberto_di_marino opening during Napoli art week. A domestic show at Casa di Marino, showcasing a series of 16 or so paintings titled Love in the Paleolithic—all of which based on prehistoric sex drawings, several of which between humans and animals!

I have a lot to say & show about this “love” and you’ll hear all about it soon—for now, an oil on canvas treat. Thank you Di Marino!

Happy to announce a humble yet significant exhibition for me at @galleria_umberto_di_marino opening during Napoli art week. A domestic show at Casa di Marino, showcasing a series of 16 or so paintings titled Love in the Paleolithic—all of which based on prehistoric sex drawings, several of which between humans and animals!

I have a lot to say & show about this “love” and you’ll hear all about it soon—for now, an oil on canvas treat. Thank you Di Marino!

Happy to announce a humble yet significant exhibition for me at @galleria_umberto_di_marino opening during Napoli art week. A domestic show at Casa di Marino, showcasing a series of 16 or so paintings titled Love in the Paleolithic—all of which based on prehistoric sex drawings, several of which between humans and animals!

I have a lot to say & show about this “love” and you’ll hear all about it soon—for now, an oil on canvas treat. Thank you Di Marino!

Happy to announce a humble yet significant exhibition for me at @galleria_umberto_di_marino opening during Napoli art week. A domestic show at Casa di Marino, showcasing a series of 16 or so paintings titled Love in the Paleolithic—all of which based on prehistoric sex drawings, several of which between humans and animals!

I have a lot to say & show about this “love” and you’ll hear all about it soon—for now, an oil on canvas treat. Thank you Di Marino!

We are delighted to announce an exciting new project. On Saturday, 23 May 2026, from 11 am to 7 pm, we will also inaugurate Love in the Paleolithic, the first solo exhibition entirely conceived and developed within the spaces of Casa Di Marino.

The exhibition marks the beginning of a new chapter in the gallery’s program, activating the domestic dimension as a site of experimentation and research, where solo projects and new productions by represented and invited artists will alternate.

Isadora Neves Marques (Lisbon, 1984) is a filmmaker, artist, and writer whose work explores intimacy, ecology, technology, gender, and sexuality through speculative narratives and science fiction. She represented Portugal at the 59th Venice Biennale (2022) and has exhibited internationally at institutions including Palais de Tokyo, Tate Film, Castello di Rivoli, SculptureCenter, and Pérez Art Museum Miami. Collaborating with Galleria Umberto Di Marino since 2010, she has presented four solo exhibitions and numerous special projects and screenings at major international film festivals, including Cannes, TIFF, and NYFF.

We are delighted to announce an exciting new project. On Saturday, 23 May 2026, from 11 am to 7 pm, we will also inaugurate Love in the Paleolithic, the first solo exhibition entirely conceived and developed within the spaces of Casa Di Marino.

The exhibition marks the beginning of a new chapter in the gallery’s program, activating the domestic dimension as a site of experimentation and research, where solo projects and new productions by represented and invited artists will alternate.

Isadora Neves Marques (Lisbon, 1984) is a filmmaker, artist, and writer whose work explores intimacy, ecology, technology, gender, and sexuality through speculative narratives and science fiction. She represented Portugal at the 59th Venice Biennale (2022) and has exhibited internationally at institutions including Palais de Tokyo, Tate Film, Castello di Rivoli, SculptureCenter, and Pérez Art Museum Miami. Collaborating with Galleria Umberto Di Marino since 2010, she has presented four solo exhibitions and numerous special projects and screenings at major international film festivals, including Cannes, TIFF, and NYFF.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

Destruction doesn’t always leave a void in its wake. Indeed, as Isadora Neves Marques @inevesmarques writes in their contribution about the genre of science fiction, “the debris and shards left behind … have much to teach us.” Elaborating on Judith Merril’s “heterodox (un)definition” of the genre, Neves Marques provocatively asserts: “We might provisionally say that science fiction is the fiction that endeavors to find the meanings and rituals hidden behind science perceived as magic and magic perceived as science.”

Read it at e-flux journal issue 161. Link in bio.

Images: [1] Things to Come, directed by William Cameron Menzies, 1936. [2] Science fiction writer Judith Merril holds a picture of a spaceship in the Spaced-Out Library in Toronto, March 1975. Photograph by Dick Darrel. [3] Memoria, directed by Apichatpong Weerasethakul, 2021. [4] Adrian Tchaikovsky, interview on the YouTube channel How I Write, with David Perell, 2026. [5] A map of the Stillness, the supercontinent where N. K. Jemisin’s Broken Earth trilogy is set. It depicts the major cities, key regions, tectonic plates, and islands of the Stillness. Credit: Tim Paul for N. K. Jemisin.

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

New essay on @e_flux Journal on the politics, pertinence, and pleasures of science fiction in our new and messy multipolar world. Link in bio.

From Judith Merril’s SF to Lévi-Strauss+Arthur C. Clarke’s magic & science, Indigenous Futurism with Grace Dillon, novels by Adrian Tchaikovsky and NK Jemisin, cosmopolitics, etc. Enjoy.

Thank you e-flux as ever! Check out some of the other articles as well!

Join me and @after.8.books for a memorable evening. We’ll start with a book launch and poetry reading at the bookstore, followed by a film screening at the neighboring @cinemalarchipel

Hope to see you there ***

With the kind support of @fraciledefrance & @galleria_umberto_di_marino

Biography of a Fiction is out now with @after.8.books . Book launch in March, info soon.

“Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.“

A couple of nods to the comic book fans in these highlighted poems😌

Thanks to Frac île-de-france & @galleria_umberto_di_marino

Biography of a Fiction is out now with @after.8.books . Book launch in March, info soon.

“Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.“

A couple of nods to the comic book fans in these highlighted poems😌

Thanks to Frac île-de-france & @galleria_umberto_di_marino

Biography of a Fiction is out now with @after.8.books . Book launch in March, info soon.

“Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.“

A couple of nods to the comic book fans in these highlighted poems😌

Thanks to Frac île-de-france & @galleria_umberto_di_marino

Biography of a Fiction is out now with @after.8.books . Book launch in March, info soon.

“Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.“

A couple of nods to the comic book fans in these highlighted poems😌

Thanks to Frac île-de-france & @galleria_umberto_di_marino

Biography of a Fiction is out now with @after.8.books . Book launch in March, info soon.

“Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.“

A couple of nods to the comic book fans in these highlighted poems😌

Thanks to Frac île-de-france & @galleria_umberto_di_marino

My new poetry collection is out now with After8 Books @after.8.books

2025 was a year of poetry for me, with the release of my portuguese poetry collection A Campa de Marx @nao.edicoes . I can’t think of a happier start to 2026 than with this second collection of poems in English.

A book launch in Paris is in the works for the first days of March. Friends and foes, I hope to see you there. In the meantime you can buy it at After8 Books website or in store.

Thank you After8 for the trust and the enticing conversations leading up this. & thank you to Frac Ile-de-France and @galleria_umberto_di_marino for the support.

My new poetry collection is out now with After8 Books @after.8.books

2025 was a year of poetry for me, with the release of my portuguese poetry collection A Campa de Marx @nao.edicoes . I can’t think of a happier start to 2026 than with this second collection of poems in English.

A book launch in Paris is in the works for the first days of March. Friends and foes, I hope to see you there. In the meantime you can buy it at After8 Books website or in store.

Thank you After8 for the trust and the enticing conversations leading up this. & thank you to Frac Ile-de-France and @galleria_umberto_di_marino for the support.

My new poetry collection is out now with After8 Books @after.8.books

2025 was a year of poetry for me, with the release of my portuguese poetry collection A Campa de Marx @nao.edicoes . I can’t think of a happier start to 2026 than with this second collection of poems in English.

A book launch in Paris is in the works for the first days of March. Friends and foes, I hope to see you there. In the meantime you can buy it at After8 Books website or in store.

Thank you After8 for the trust and the enticing conversations leading up this. & thank you to Frac Ile-de-France and @galleria_umberto_di_marino for the support.

My new poetry collection is out now with After8 Books @after.8.books

2025 was a year of poetry for me, with the release of my portuguese poetry collection A Campa de Marx @nao.edicoes . I can’t think of a happier start to 2026 than with this second collection of poems in English.

A book launch in Paris is in the works for the first days of March. Friends and foes, I hope to see you there. In the meantime you can buy it at After8 Books website or in store.

Thank you After8 for the trust and the enticing conversations leading up this. & thank you to Frac Ile-de-France and @galleria_umberto_di_marino for the support.

Sensitive encounter 🌿⁠
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Part of the #KADISTcollection, 'The Pudic Relation between Machine and Plant' by Isadora Neves Marques shows a robotic hand touching a sensitive plant, 'Mimosa pudica', which folds its leaves when touched. The simple interaction unfolds layers of meaning, reflecting on our relationship with nature, the impact of human intervention, and how knowledge and technology shape the way we observe and understand the living world.⁠
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The film is currently screening at Simian, Copenhagen, as part of 'Extended Views', a collaborative film program by Simian & KADIST, curated by @moyradavey & @fabianflueckiger. The program features films exploring memory, collaboration, ecological and emotional landscapes, and the layering of personal and collective histories, including works by @dineo_seshee, @scemamarion, @wojfound, @antonvidokle and @inevesmarques. On view through December 14, 2025!⁠
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📼 Isadora Neves Marques, The Pudic Relation between Machine and Plant, 2016 | Courtesy the artist and KADIST collection⁠
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@ssiimmiiaann #ssiimmiiaann #contemporaryart #screening