Embodied Heat

Kerry is traditionally trained in stained glass and art foundry practices. Using humour as a vehicle for accessibility, their work explores the intersections of fertility, gender, sex, violence, pleasure and pain. These narratives are illustrated through traditional stained glass techniques, subverted sacred iconography and hidden symbols. Kerry is intent on bringing stained glass out of the church and into a contemporary art space.

fields harrington (b. 1986) is a Brooklyn-based artist whose practice spans sculpture, performance, video, photography, drawing, and writing. harrington investigates the political, social, historical, and economic forces shaping the production of empirical knowledge, with a particular focus on science. His work critiques how ideologies—such as racism and the enduring financial logic of slavery—have shaped scientific practices that uphold systems of oppression. By revealing the intersections between knowledge production and the abstraction of power, harrington challenges the construction, transmission, and weaponization of knowledge.

harrington has a BFA from the University of North Texas, an MFA from the University of Pennsylvania, and studied at San Antonio Community College. He was a participant in the Whitney Independent Study Program. He has presented solo exhibitions at the David Salkin Gallery, KAJE, Petrine, and Y2K Group. He has exhibited in group shows at MIT List Visual Arts Center, Galerie Thomas Schulte, Parsons School of Design, 52-07 Flushing Avenue, and Automat Gallery. fields harrington was an L.A.B. researcher in residence at The Kitchen in collaboration with The School for Poetic Computation and participated in the research residency Site to be Seen at RAIR.

Jessica Hemmings is Editor-in-Chief of PARSE.

She studied Textile Design at the Rhode Island School of Design and Comparative Literature (Africa/Asia) at the University of London’s School of Oriental and African Studies. Her PhD, awarded by the University of Edinburgh is published under the title Yvonne Vera: The Voice of Cloth (kalliope paperbacks: 2008). She is editor of In the Loop: Knitting Now (Black Dog: 2010), The Textile Reader (Berg: 2012 / second edition Bloomsbury: 2023) and author of Warp & Weft (Bloomsbury: 2012). Her editorial and curatorial project Cultural Threads (Bloomsbury: 2015) was accompanied by a travelling exhibition Migrations (2015–17).

Jessica edited PARSE Journal issue 18 Thinking in Motion and co-edited issue 19 Powers of Love with Jyoti Mistry, issue 15 Violence: materiality with Ole Lützow-Holm and issue 11 Intersections with Kristina Hagström-Ståhl and Jyoti Mistry. Recent writing includes the Afterword to Humanitarian Handicrafts: History, Materiality, Trade (Manchester University Press: 2024), “Toward a Minor Textile Architecture” in Entangled Histories of Art and Migration (Intellect: 2024) and “Crafting Extremes in Andreas Eschbach’s The Hair-Carpet Weavers” in Text/Techne (Bloomsbury: forthcoming). From 2020-2023 she was the Rita Bolland Fellow at the Research Centre for Material Culture, the Netherlands and is currently Professor of Craft at HDK-Valand, University of Gothenburg and Professor II at the Oslo School of Architecture and Design.

Hsuan Hsu received his PhD in English from UC Berkeley. He is a Professor of English at the University of California, Davis, where he works in the fields of American literature and culture, environmental humanities, critical ethnic studies, sensory studies, and cultural geography. His publications include Geography and the Production of Space in Nineteenth-Century American Literature (Cambridge, 2010), The Smell of Risk (NYU, 2020), Air Conditioning (Bloomsbury, 2024), and articles in journals such as American Literary History, ISLE, Panorama, Camera Obscura, and Jump Cut. He has on the editorial or advisory boards of several journals, including Literary Geographies, American Literature, Genre, Multimodality and Society, and Venti: Air, Experience, Aesthetics. He has received fellowships from the American Academy of Arts and Sciences, the National Endowment for the Humanities, the American Council for Learned Societies, and the Andy Warhol Foundation for the Visual Arts. He is currently completing a short book on Olfactory Worldmaking and co-editing (with Ruben Zecena) a special issue of Senses and Society on the topic of Migrant Sensoria.

Nam Huh is a curator, researcher, and PhD candidate in Media and Communication at Loughborough University. With a background in Social History of Art (University of Leeds) and Art Theory (Hongik University), their practice intersects curating, sound, documentary forms, and minoritarian politics. Nam has held curatorial and programming roles across countries, including with Migration Matters Festival, No Bounds Festival, The Royal Standard, and Seoul Museum of Art. Recent curatorial work explores diasporic time, ecological memory, and sonic interruptions in the everyday. Their multidisciplinary apporach investigates involuntary bodily sounds as metaphors for migration, tension, and cultural residue. Nam’s programming has been supported by institutions such as FSAS (Dublin) and Arts Council Korea. They are currently based in the UK, curating across film and visual art platforms with a focus on post-growth ecologies, migrant labour histories, and intergenerational storytelling through sonic and documentary strategies.

Richard L. Kramár (legal name: Richie Lux Kramár) (*1995, Bratislava) is a poet, director, dramaturg, kabarettier, and librettist. He studied Directing and Dramaturgy of Alternative and Puppet Theatre at DAMU in Prague, Theatre Practices at ArtEZ University of the Arts in Arnhem, and is currently pursuing a PhD in Dramatic Arts at JAMU in Brno. Between 2014 and 2016, he co-founded and co-led (with Terézia Klasová) the independent cultural space Divadlo na ôsmom poschodí in Bratislava. Theatre projects he has contributed to have been selected for the příští vlna/next wave festival three times (2016, 2022, 2023). He is also a co-founder of several art collectives and conceptual clusters. Kramár has published four poetry collections: Štuchanie do medúz (Spolek přátel Psího vína, 2017), Úchopový inštinkt (BRAK, 2021), BORDERLINE (with Kino Peklo, Adolescent, 2022), and Sukces saisóny – atto i. & atto ii. (Adolescent, 2025). During the 2022/23 season, he worked as a full-time prompter at the State Opera in Prague, where he now continues as an external collaborator. Since 2024, he has been part of the editor-in-chief duo (with Terézia Klasová) of Psí víno, a digital curatorial platform for contemporary poetry, where he focuses primarily on translating English-language queer poetry and editorial work.

Onkar Kular is Professor of Design at HDK Valand, Academy of Art & Design, University of Gothenburg. His practice has been disseminated internationally through commissions, exhibitions, education and publications. He has guest-curated exhibitions for The Citizens Archive of Pakistan, Karachi, and the Crafts Council, UK. He was Stanley Picker Fellow in 2016, Artistic Director of Gothenburg Design Festival in 2017, Co-Artistic Director of Luleå Art Biennial in 2022 and curator of the sonic festival, Bass Cultures, How Low Can You Go! Falkenbergs teater, Sweden in 2023. He is the co-editor of Urgent Pedagogies Journal Issue #6, Earthed Imagination (2023) and Urgent Pedagogies Journal Issue #9, The Right to design (2024).

We are an artist-curator duo who are currently working on a project collaborating with NSFW.

Jessica Ekström (b. 1995) is a visual artist based in Gothenburg, Sweden. She holds a master’s degree in Fine Art Photography from HDK-Valand, University of Gothenburg (2023), and has exhibited in numerous solo and group shows in Sweden. With photography as method and artistic approach, Ekström uses her body and the self-portrait as an entry to question the gaze and its impact upon female representation. In her practice, she tends to proceed from herself as the character of a “woman”; the “woman” is a masquerade created by others, for others.

Viola Dóra Lenkey (b. 1998) is a curator from Budapest, earned her master’s degree in Contemporary Art Theory and Curatorial Studies from the Hungarian University of Fine Arts (2024). During her studies, she initiated an ongoing research project examining the evolution of female body representation in visual arts. Her focus lies in photography and performance art, particularly in the context of self-representation. Through her research, she explores whether self-representation can counteract exploitation and reduce social discrimination against marginalized bodies.

Gerrie van Noord is an editor/curator of publications and educator who has been involved with PARSE Journal since 2016. Her practice focuses on publications as sites for articulation in relation to both artistic and curatorial practices, and she is particularly interested in expanded understandings of collaboration. For Artangel she produced the ‘Afterlives’ publications (1997–2002) and for Book Works she commissioned the ‘Fabrications’ series of co-publications (2006-09). She was managing editor of the critical anthologies The Curatorial Conundrum: What to Study? What to Research? What to Practice?(2016), How Institutions Think: Between Contemporary Art and Curatorial Discourse (2017) and Curating after the Global: Roadmaps to the Present (2019), as well as Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (2022). She worked with Olivia Plender on the book Rise Early, Be Industrious (2016) and a website of the artist’s entire body of work (2021) and edited Curling Up with Reality (2021), a selection of Isabel Nolan’s writing. Moist recently she co-edited Kathrin Böhm: Art on the Scale of Life (with Paul O’Neill and Mick Wilson, 2023), Not Going It Alone: Collective Curatorial Curating (with Paul O’Neill and Elizabeth Larison, 2024) and Curious (with Paul O’Neill, 2024). Gerrie was a Visiting Lecturer on the MFA at the Glasgow School of Art (2003–15), Associate Lecturer on the MA Arts Policy & Management at Birkbeck, University of London (2006–19) and is now Tutor (Research) on the MA Curating Contemporary Art at the Royal College of Art, London. She has a PhD from Birkbeck, University of London (2021).

Gina Enslin is a Berlin-based freelance audio journalist and podcast author, working mainly on the topics of politics and history. She has worked on several educational, storytelling and news podcasts, for example for the German Federal Agency for Political Education, for several production companies, as well as for German public broadcasters. 2024, she was part of the scholarship program “Resonance” by the Goethe Institute France where she researched the effects of the climate crisis between France and Germany.

Anne Pretzsch is a performance artist, curator and author based in Hamburg and Cologne. She develops transprofessional and transgenerational participatory performances with non-professionals and is currently teaching at University of Osnabrück and University Cologne. Together with Lisa Florentine Schmalz, she is the artistic director of WE PRESENT Festival at Lichthof Theater Hamburg. Pretzsch is funded by the Claussen-Simon-Stiftung for her PhD at HfbK and FUNDUS Theater Hamburg until 2026.

Eleni Riga is an independent curator focusing on ecofeminisms in the Mediterranean South She has held key roles, including assistant curator for Case_L at Kunsthalle Friart Fribourg and director of the Contemporary Art Department of Eleusis 2023. She was a curatorial assistant for documenta 14 in Athens and Kassel and has collaborated with major European institutions. Since 2022, she has led the Office of Hydrocommons, a curatorial initiative on water and body politics, in partnership with ATOPOS cvc. She holds degrees from Panteion University, Université Paris 1 Panthéon-Sorbonne, and Konstfack. Riga has participated in residencies worldwide. Her upcoming exhibitions include projects at the Bath House of the Winds-Museum of Modern Greek Culture in Athens and Billedkunstnerne i Oslo, further expanding her curatorial impact.

Emelie Röndahl is a weaving artist who for several years works with figurative rya, a traditional Scandinavian weaving technique that historically has been used to weave blankets that imitate sheep skins where the hairy part lays against the body. She was educated at HDK-Valand University of Gothenburg, holding an MFA in crafts (2012) and a PhD in artistic research (“Crying Rya- A Practitioner’s narrative through hand weaving” (2022). She has exhibited her woven works both in Sweden and internationally, most recently at the Gothenburg Art Museum as one of the recipient of the Stenastiftelsen culture scholarship (2024). Emelie Röndahl is currently Professor of Textile Art at the Oslo National Academy of Art.

Sara Sassanelli is co-founder of Alice Agency and Associate of CONDITIONS studio programme. Until 2024, they were Curator of Live at the Institute of Contemporary Arts (ICA) where they programmed across dance and electronic music, with a focus on emerging artists. Their work explores collective and enthusiastic cultures that form around raving and how these manifest in multidisciplinary practices. Their most recent ICA programme, this dark gleam (2024), showcased artists engaging with formal technique, social dance, pop culture, and punk sensibilities. Currently, they are collaborating with Eve Stainton, Fernanda Muñoz-Newsome, Billy Bultheel, and Jose Funnell, among others. Previously, they have worked at Tate, Goldsmiths, and the Royal Academy of Arts, and have programmed events at Ormside Projects, Somerset House Studios, Southwark Platform, Guest Projects, Arts Admin, Fierce Festival, and Block Universe. They programme across dance and electronic music.

Recent programming includes: NX FUIMO by Tamara Alegre (2024), GONER by Malik Nashad Sharpe (2024), Afterlife by Louis Schou Hansen (2024) IMPACT DRIVER by Eve Stainton (2023), minus one series (2022 – 2023), Dykegeist by Eve Stainton (2021), The Last Breath Society by Martin O’Brien (2021), Rave Trilogy by Rebecca Salvadori (2020) The Tender Interval: Studies in Sound and Motion (2020), a convening exploring the transformational qualities of sound and dance practices and an all-night takeover of ICA by collective INFERNO (2020 & 2023).

Elektra Stampoulou engages in art and research. Her practice mainly develops around questions related to narrative, dissemination, iterability, the undecidable, and the enchanting. Employing time-dependent processes, various media, and often olfactory components, she attempts to explore among others, shared experience, agency, indeterminacy, and the digressive. She is currently a Ph.D. candidate at the Athens School of Fine Arts on an IKY scholarship. She holds a BA in English literature from NKUA, an integrated MFA in visual arts from ASFA, and an MPhil in ethics from NKUA.

Jane Théau’s art practice encompasses sculpture and installation, collaboration with performers, curation, and the facilitation of community art projects.  She works with media as weighty and permanent as bronze and as ephemeral as performance but returns always to that most tactile medium: textiles. Jane completed a PhD on textiles and tactility in contemporary art at the Australian National University and has a Masters of International Affairs from Columbia University and a Bachelor of Applied Science from the University of Technology Sydney. She is the founder of Textiles Sydney, past President of the Willoughby Art Centre and a sustainability activist. Awards Jane has received include the Australian Design Centre Award, the Rookwood Sculpture Prize, the Grace Cossington Smith Early Career Award and residencies at Hill End and Bundanon. Her lace portraits featured onstage in Sue Healey’s On View: Panorama Suite which toured Japan, Sydney and Hong Kong in 2020-21.

Cara Tolmie spends much of her time oscillating between contexts as an artist, musician, performer, DJ, pedagogue and researcher. Her practice at large investigates the complexity of the bind between the voice and body – of how voice can traverse internal and external realities of both the sounder and listener and how it can research various qualities of embodiment, both pleasurable and disorienting. She is currently finishing a PhD at Konstfack, Stockholm, in critical sonic practice. 

Marina Otero Verzier is an architect and researcher whose work sits at the intersection of critical spatial practices, ecology, technology, and activism. In 2022, she received the Harvard GSD’s Wheelwright Prize for a project on the future of data storage. She is a Lecturer in Architecture at Harvard GSD and Dean’s Visiting Assistant Professor at GSAPP, Columbia University, New York, where she leads the ‘Data Mourning’ clinic, an educational initiative focused on the intersection between digital infrastructures and climate catastrophe. She collaborated with the Supercomputing Center of the DIPC to develop alternative models for storing data, such as the project Computational Compost, first presented at Tabakalera. Otero was also invited by the Ministry of Science, Technology, Knowledge, and Innovation to participate as an expert in the development of Chile’s first National Data Centers Plan, together with “Resistencia SocioAmbiental – Quilicura” and other local communities on the front lines of extractivism. Otero was the Head of the MA Social Design Masters at Design Academy Eindhoven (2020-2023) and  Director of Research at Het Nieuwe Instituut (2015 to 2022). She  has curated exhibitions such as ‘Wet Dreams’ at Mayrit, CentroCentro (2024), ‘Compulsive Desires: On Lithium Extraction and Rebellious Mountains’ at Galería Municipal do Porto (2023), ‘Work, Body, Leisure’ at the Dutch Pavilion at the Venice Architecture Biennale (2018), and ‘After Belonging’ at the Oslo Architecture Triennale (2016).  Otero is the author of En las Profundidades de la Nube (2024), a book on data storage and sovereignty in the AI era. The book proposes new paradigms and aesthetics for data storage, integrating architecture, preservation, and digital culture.  She has co-edited Automated Landscapes (2023), Lithium: States of Exhaustion (2021), More-than-Human (2020), Architecture of Appropriation (2019), Work, Body, Leisure (2018), among others.

Tintin Wulia is an artist and Senior Researcher at the HDK-Valand – Academy of Art and Design, University of Gothenburg, Sweden, and an Honorary Senior Research Fellow at the Slade School of Fine Art, University College London, UK. She explores the intricate power dynamics of societal and geopolitical borders as interfaces, through a multi-disciplinary approach that includes text, video, sound, painting, drawing, dance, installation, performance, and public intervention, tackling these subjects both pragmatically and conceptually. Since 2000 she has contributed to 200 international exhibitions and publications, including Istanbul Biennale (2005), Moscow Biennale (2011), Sharjah Biennale (2013), and most recently the 2021 Chicago Architecture Biennale, as well as a solo pavilion at the 57th Venice Biennale in 2017. Her text publication includes a chapter contribution to the award-winning edited volume Migrating Minds: Theories and Practices of Cultural Cosmopolitanism (New York: Routledge, 2022). Her works are part of prominent public collections worldwide, including the Stedelijk Van Abbemuseum and He Xiangning Art Museum. Currently she is Principal Investigator of the Swedish Research Council-funded Protocols of Killings: 1965, Distance, and the Ethics of Future Warfare (2021-24) and the European Research Council-funded Things for Politics’ Sake: Aesthetic Objects and Social Change/THINGSTIGATE (2023-28).

Anı Ekin Özdemir is a writer and artist working with poetry, performance, and printed matter. Her practice moves through porous bodies, intimate ecologies, and the textures of relation—thinking with water, weather, and pollution as forces that blur boundaries between inside and outside, self and world. Working across fragment, image, and poetry, she treats language as a site of permeability and entanglement, where writing becomes affective, unstable, embodied. Ekin is currently based in Antwerp, where she is pursuing a PhD in Arts at LUCA School of Arts & KU Leuven. Her text-based contribution to PARSE, Burning Bright, turns toward heat—as sensation, excess, and transformative intensity.