“Counter-Cartography, Radical Pedagogy and the Critique of Extractivism,” College Art Association Annual Conference, February 15, 2020, Chicago.
“After the Border is Closed: Immigration, Incarceration, and Internationalism in Ricardo A. Bracho’s Puto,” English Department, University of California, Berkeley, February 21.
“Never Surrender | Popular Power, Global Capital and Police States in the 21st Century,” symposium at the University of Pennsylvania and Slought Foundation, April 2-3, 2020. Featuring talks by Ania Loomba, William I. Robinson, Randall Williams, Raúl Zibechi and a reading of a new play by Ricardo A. Bracho.
“Transnational cartographies of racism and state violence in the experimental documentaries of Frente 3 de Fevereiro” in the panel Cartografias, racismo e representação da violência no cinema Latino Americano, Latin American Studies Association annual conference, Guadalajara, Mexico, May 13-17, 2020.
Co-Director, The Critical Theory Workshop / Atelier de Théorie Critique 2020 Summer Program, June 29-July 17, at the École des Hautes Études en Sciences Sociales, Paris. Speakers include Timothy Bewes, Christine Delphy, Annie Lacroix-Riz, Gabriel Rockhill, Julian Sempill, and Massimiliano Toomba. Topics covered include: materialist feminism, radical ecology, international critical theory, revolutionary theory and the history of revolutions, the historical legacies of “68 thought,” and materialist critiques of both radical democracy and the decolonial turn.
“Securitized Social Control and Guerrilla Theaters of Resistance” in session “Imperial Aesthetics and Counter-Hegemony: Transnational Cultural Warfare from the Cold War to the Present,” American Studies Association Annual Conference, November 8, Honolulu.
The Critical Theory Workshop / Atelier de Théorie Critique Summer Program, July 1-19 at the École des Hautes Études en Sciences Sociales, Paris
“The Dystopian Normal: Anti-Immigrant Politics, Racial Apartheid, and Securitization in Ricardo Bracho’s “Puto,” Latin American Studies Association annual conference, Boston, Massachusetts, May 27, 2019.
“Against Conquest,” Latino Art Now! annual conference, University of Houston, April 4-6, 2019.
Symposium on Theory & Counter-History, April 26, 2019 at the University of Pennsylvania. Co-organized by Jennifer Ponce de León, Gabriel Rockhill & Andrew Baird.
“Another Aesthetics is Possible,” College Art Association annual conference, New York, February 15, 2019.
“The Art of Rebellion in the Fourth World War,” Institute of Fine Arts, New York University, October 5, 2018.
“Revolutionizing Aesthetics,” co-authored with Gabriel Rockhill, Association for the Study of the Arts of the Present annual conference, Tulane University, New Orleans, October 18, 2018.
“The Art of Moving through the Looking Glass” with Gabriel Rockhill and “Is the ‘Decolonial Turn’ a Colonial Return” with Rockhill and Seloua Luste Boulbina, Critical Theory Workshop/Atelier de Théorie Critique, École des Hautes Études en Sciences Sociales, Paris, June 18 & June 25, 2018.
“Against Representation, Beyond Human Rights: Radical Performance & Neoliberal Crisis in Buenos Aires,” Cities and Societies Workshop, University at Buffalo, State University of New York, April 30, 2018.
“Disrupting the Apartheid Imagination,” College Art Association Annual Conference, February 24, 2018, 4-5:30 PM, LA Convention Center, Room 404 B.
Curator, Resurgent Histories, Insurgent Futures, Slought Foundation, Philadelphia, September 7-30, 2017. The exhibition documents incisive instances of guerrilla cultural warfare from across the Americas: artistic practices engaged in struggles over political narratives, the meanings and direction of history, and the forging of collective futures. These experimental practices – which challenge codified conceptions of art – produce and disseminate culture in modes not beholden to state ideological apparatuses or the siloing of forms of knowledges these promulgate. Some of them also infiltrate official institutions and their representational protocols, using guerrilla tactics, critical mimicry, and biting irony to expose their sociopolitical functions or economic dealings that otherwise remain obscured.
Review of Resurgent Histories, Insurgent Futures published in The Brooklyn Rail, October 2017 issue.
Organizer and Discussant, “Against Conquest: History from Below and to the Left,” Slought Foundation, Philadelphia, September 22, 2017. With Fran Ilich and Sandra de la Loza.
“Counter-narratives of Security, State Violence and Terrorism,” Penn in Latin America and the Caribbean (PLAC) Annual Conference, University of Pennsylvania, October 12, 2017.
“Anticolonial Critique & Utopian Speculation in Transmedia Art,” American Studies Association Annual Conference, November 9-11, 2017.
“Zapatista Politics and Aesthetics in Experimental Media Art,” Zapata Vive, La Lucha Sigue: Legacies of the Zapatist Revolution on the Americas’ Indigenous and Communal Movements conference, organized by the Latin American and Latino Studies program, University of Pennsylvania, September 21, 2017.
“Theorizing anticapitalist social art practices,” Roski Visions and Voices speaker series, University of Southern California, Visions and Voices speaker series, September 19, 2017.
“Toward a Counter-Hegemonic Aesthetics of History,” Critical Theory Workshop / Atelier de Théorie Critique, École des Hautes Études en Sciences Sociales, Paris, July 17, 2017.
“Unsettling Racial Geographies across the Americas & the Atlantic: Indigenismo, Anticolonial Critique and the Aesthetics of Deception,” Latina/o Literary Theory and Criticism Conference, April 13-16.
“On State Terrorism & Class War: Radical Art in Argentina in the 21st Century,” Department of Comparative Literature Luncheon Lecture Series, Pennsylvania State University, March 27, 2017.
“From Moctezuma’s Headdress to Zapatista Coffee: Gaming Cultural Heritage Debates,” College Art Association Annual Conference, February 15-18, 2017.
“Communist Revolution Every Weekend in Apartheid Los Angeles: Ricardo A. Bracho’s Puto,” Modern Language Association Annual Conference, January 5-8, 2017.
Header photo credit: Sandra de la Loza / The Pocho Research Society for Erased and Invisible History.