Thermal Thresholds

Alejandra Salinas and Aeron Bergman are an artist-duo. Salinas is Assistant Professor at the University of Missouri. They were both professors at the Pacific Northwest College of Art and Senior Artists-in-Residence at the University of Washington. Bergman was Professor at the Oslo National Academy of the Arts.

Published writing includes in OEI (Stockholm), Rab-Rab Press (Helsinki), MARCH journal of art & strategy (St. Louis), INCA Press (Portland) and TLTRPreß (Berlin).

They have shown internationally including Athens Biennale; Bergen Assembly Triennial; Turku Biennial; Struer Tracks Sound Art Biennial; Steirischer Herbst, Graz; Fundação de Serralves, Porto; Eastside Projects, Birmingham; Kunsthalle Exnergasse, Vienna; Kunsthall Aarhus; Haus der Kulturen der Welt, Berlin; ICC Tokyo; Center for Contemporary Art Glasgow; Dundee Contemporary Art; MOCA Novi Sad; Taipei Fine Art Museum; Van Abbemuseum, Eindhoven; Centre George Pompidou and Palais de Tokyo, Paris; Nikolaj Kunsthal, Copenhagen; Henie Onstad Art Center and Kunstnernes Hus, Oslo and MUDAM Luxembourg. 

Erin Cory is a researcher, writer, and educator whose work explores the intersections of media, migration, and creative practice. She focuses on how displaced communities use storytelling and technology to navigate identity, belonging, and resistance. Erin is currently Senior Lecturer in Media & Communication Studies at Malmö University, where she collaborates on interdisciplinary projects that bring together scholars, artists, and activists.
Her research often takes shape through participatory and arts-based methods, including exhibitions, workshops, and multimedia storytelling. She has worked closely with refugee-led organizations, youth, and grassroots initiatives in both Europe and East Africa, co-creating spaces for dialogue, healing, and political expression. Committed to accessible and inclusive scholarship, Erin’s work challenges traditional academic boundaries and centers lived experience. Whether in the classroom or the field, she is driven by the question: how can we tell stories that resist erasure and build futures rooted in solidarity and care?

Michaela Domiano is an interdisciplinary scholar whose research engages questions of global and diasporic process, the physical and imagined geography of the US/Mexico border, and transnational perspectives and experiences of migration with a focus on Central American and Mexican migrant desire, solidarity, and agency. S he draws from her training in Creative Nonfiction writing to merge sensual writing with the critical to invite her audience into an affective encounter that calls attention to migrant bodies as storied by movement, desire, creative productions, and performances of resistance and solidarity in the face of the prohibition of borders. Her research, which is poetic and political, makes key contributions to migration and border studies by providing counter-perspectives to sensationalized and simplistic portrayals of undocumented migration through Mexico that dominate media and academic discourse. She is currently an Associate Professor of Ethnic Studies at Bowling Green State University.

Jack Faber is a filmmaker-researcher whose practice investigates the intersections of militarization, ecology, technology and anticipatory imaginaries. His work merges subversive storytelling with rigorous research, offering fresh perspectives on historical and emerging narratives, myth-making, and contemporary crises. Faber often explores interdisciplinary methodologies, combining cinema and animal studies, cultural analysis, and philosophical inquiry to create richly layered texts and participatory artworks.

His recent project, Accelerated Landscapes, exhibited at CCA Tashkent, reflects his commitment to making complex ideas accessible through compelling visual forms and public engagement. He has published three books, contributed to a range of publications, and exhibited award-winning films and installations internationally.

In recent years, Faber has focused on vulnerable climate frontiers, particularly in the High Arctic, where the entanglement of environmental change and militarization profoundly affects ecosystems, local communities, and more-than-human life. Through these contested landscapes, he examines the infrastructures that shape collective understandings of conflict, progress, and survival in increasingly fragile environments.

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.

Lisa Hoffmann is a multidisciplinary artist whose work spans installation, film, and performance, both material- and research-driven. Her work critically engages with themes such as the eco-eco crises, the anxieties spawned by capitalism, and the decomposition of dominant cultural narratives. 

She is a graduate of Bauhaus University Weimar (MFA Sustainable Product Design) and Berlin University of the Arts (MFA Art and Media). There she was recently appointed the title of a “Meisterschülerin“. She is an active member of the collective Klasse Klima and currently co-creates the Studium Planetare, a pilot project in applied climate education at art colleges.

Lisas work has been shown at l’escaut (BE, 2025), Kommunale Gallery (DE, 2024), BAK – basis voor actuele kunst (NL, 2023), KOMMET Art Space (FR, 2023), Hamburger Bahnhof (DE, 2022), Tampere Film Festival (FI, 2022), Roman Susan Art Foundation (US, 2020), Biennial of Photography Porto (PT, 2019) and Triennial of Photography Hamburg (DE, 2018), among others. She was Artist in Residence at an• other here and Cité Internationale des Arts Paris. She lives and works in Berlin.

www.lshhhh.net

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.

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).

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).

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).

Sara Sepulcri is an Italian visual artist and historical researcher with a background in history and politics from the University of Bologna. Her work explores climate change, migration, and their impact on humans and animals through photography, AI, writing, sound, and language. Drawing from her global experiences, she examines how memories, traditions, language, and the human body evolve over time and across migrations. Influenced by her son’s deafness, she investigates sound’s role in perception and memory. Her multidisciplinary practice challenges human exceptionalism, speculating on future transformations and fostering a deeper understanding of interconnected life in a changing world.

Mohamed Sleiman is a Sahrawi multidisciplinary artist, filmmaker and writer. Born and raised in the Sahrawi refugee camps in Tindouf, southwest Algeria, he runs Motif Art Studio, a small art space built entirely from discarded materials. His art draws from the past and present life of the Sahrawi people and the multilayered social, political and environmental issues they face in their exile in the Hamada Desert. He explores these interconnected realities through diverse art practices including films, writing and community-based art. His film DESERT PHOSfate weaves through narratives of sand particles, plants, people and minerals displacement. His international exhibitions include the Helsinki Biennial, Finland, Luleå Biennial, Sweden and recently the California African American Museum, USA. His works brought the Sahrawi cause and story to art spaces and institutions worldwide. He was recently awarded the Prince Claus Fund award “Cultural and Artistic Response to the Environmental Crisis”.

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.

Charlotte Moore (Cornwall, UK) explores how botanical life reclaims & adapts to post-industrial, climate-stressed landscapes. With previous research supported by IASPIS & Linnaeus University, her upcoming project for British Ceramics Biennial traces speculative plant mutations in response to increasing wildfires in Cornwall through ceramic archiving, scent & digital wildflower modelling. Her installations translate ecological data into spatial forms speculating on future floral communities.

Rosa Whiteley (London, UK) is a spatial researcher with a background in Architecture. She is a current fellow at Onassis Air in Athens, where she is researching wildfire ecologies & atmospheres. She co-leads Architectural Design Studio: Dry-Spells at the RCA, London. Since 2019, she has been part of Turner Prize nominated Cooking Sections, which examines how the world is organised through food.