Some Like it Hot

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.

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.

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).

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.