Sophie Seita

SOLO
2024
and and and also, Crown Street Art Gallery, Darlington Library, Darlington, supported by Creative Darlington.
2023
bingenTV, solo show in collaboration with Naomi Woo, as part of The Hildegard von Bingen Society for Gardening Companions, produced by Queer Art Projects, funded by the Canada Council for the Arts and Arts Council England
2022
The Gracious Ones, Temporal Communities, Freie Universität Berlin,
2019
My Little Enlightenment Plays, SPACE Gallery, London.
2018
Emilia Galotti’s Colouring Book of Feelings. Installation of text, projections, and video; Bargehouse/Oxo Tower, London, as part of Art Night.
2019
Transpositions, installation of an audio piece, video, props, and text, for Art Night 2019, Francis Crick Institute

TWO-PERSON SHOWS
2022
There’s no way I can know it, the object, or the body, Hoxton 253, with Claire Zakiewicz.
2017
My Little Enlightenment Plays, collaborative performance-installation with Yates Norton, Judith E. Wilson Studio, Cambridge.
2013
Talk between Nudes, a collaborative exhibition with Anna Moser of text, drawings, photographs, correspondence, at Torn Page, New York..

GROUP SHOWS, INSTALLATIONS, SCREENINGS
2024
silent green, Berlin
diffrakt, Berlin
2023
Crossing Borders, Millbank, London
2022
Reference Point, curated and produced by Queer Art Projects, as part of qap.digital
Bard College
Newham Word Fest
2021
Some Loose Assemblies, Hundred Years Gallery
2020
WIP: work in progress, working process, Queer Art Projects, online exhibition.
We are Here, Heong Gallery, Cambridge.
2019 
Permutation, Being, Flux, Judith E. Wilson Drama Studio, Cambridge.
2018.
Bargehouse, Oxo Tower, Wharf, Art Night..
Polyphonic Festival, Cambridge, 15-16 Jun 2018. Installation through August 2018.
2016
Monopoles, Ugly Duck, London, curated by Yates Norton and Emma Stirling.
‘Atmospheres’, Roof Books, 300 Bowery, New York, curated by Yates Norton and Emma Stirling.
2015
Screening of Objects I Cannot Touch, The Montpelier, London, August 2015, and most recently at MiX Conference/Bath Spa University (Bristol 2017).
Flying Object, Hadley, MA, for ‘The Royal Portrait Gallery of Hadley’,
2014
Tactic Gallery Cork for ‘The Avant: Contemporary Arts Festival’;
Turning to Night, Le Petit Versailles, NYC.
Set Pieces, at Dixon Place, NYC,
2012
Neue Töne Open Festival, Stuttgart, Germany.

FULL-LENGTH COLLECTIONS
Lessons of Decal (87 Press, 2023), experimental essays/autotheory.
My Little Enlightenment Plays (Pamenar Press, 2020), performance texts.
Fantasias in Counting (Buffalo: BlazeVOX Books, 2014), performance texts.

CHAPBOOKS
Cloudiness (Temporal Communities/FU Berlin, 2023), script and documentation for a video essay.
Translating Borders, with Yael Ort-Dinoor (Temporal Communities/FU Berlin, 2023), workshop documentation and collaborative text with workshop participants.
The Gracious Ones (Earthbound Press, 2020), performance text.
My Little Enlightenment: A Lecture Performance (Other Forms, 2019).
Les Bijoux Indiscrets, or, Paper Tigers (Gauss PDF, 2017), performance text, online here.
Meat (Houston, TX: Little Red Leaves, 2015), poems.
12 Steps (Cambridge: Wide Range Chapbooks, 2012), poems.

LYRIC ESSAYS
’Poetry’s Phantom Limbs’, in ON FIGURE/S (MA BIBLIOTHÈQUE, 2021).
‘Vulva’s School: notes towards a provisional pedagogy’, in Humanities, Provocateur: Toward a Contemporary Political Aesthetics, ed. by Brinda Bose (Bloomsbury, 2021).
‘Decals of Love: a Too-Close-Reading of Wendy Lotterman’s Poems’, Manifold: Experimental Criticism (Jan 2021).
’Let it Percolate: A Manifesto for Reading’, Bricks from the Kiln, 4 (Dec 2020).

TRANSLATIONS
Etymological Gossip: Essays and Lectures, by Uljana Wolf (Nightboat Books), forthcoming Feb/March 2023.
Subsisters: Selected Poems; by Uljana Wolf (New York: Belladonna*, 2017).
i mean i dislike that fate that i was made to where, by Uljana Wolf. Winner of the 2014 Wonder Prize (New York: Wonder, 2015).
Translations of poems by Uljana Wolf in Currently & Emotion, ed. by Sophie Collins (Test Centre, 2016).
Translations of poems by Rike Scheffler, for an anthology published by the Institut für Raumexperimente (Berlin, 2019).

MAGAZINES, ANTHOLOGIES, ARTIST BOOKS
The Minutes of the Hildegard von Bingen Society for Gardening Companions, vol. 1 & 2, designed by Yael Ort-Dinoor (2022-).

Urgency Reader 2: Mutual Aid Publishing during Crisis, publ. by Queer.Archive.Work (Apr 2020)—contribution in collaboration with Naomi Woo.

Transpositions, an artist book of poetry, edition of 7. In collections at Chelsea Art Space and Goldsmith’s Women’s Art Library.

‘Some Disintegrating Loops, for Raphael’, performance text, in Raphael Sbrzesny’s Service Continu 7/7 (artist book) (Spector Books, 2017).

Various publications in the UK, Germany, Ireland, and the US, including The London Review of Books, Asymptote, The White Review, Hotel, Cambridge Literary Review, PEN America, Wretched Strangers (Boiler House Press, 2018), The Recluse, Best American Experimental Writing (Wesleyan University Press, 2018), Gulf Coast, STILL, Lana Turner, Pelt Vol. 4: Feminist Temporalities, and others.

WORK TRANSLATED INTO OTHER LANGUAGES
Sections from ‘Pony: Five Tableaux’, translated into Spanish, by Macarena Urzúa, in Antología Bilingüe Po-Ex (Santiago: G0 Ediciones, 2019).
‘Some Disintegrating Loops, for Raphael’, translated into German, by Daniel Creutz, in Raphael Sbrzesny’s Service Continu 7/7 (Spector Books, 2017).

Elephant Magazine (2023)
Now Nancy/Soho Radio (2023)
SPAM Plaza (2021)
Jacket2 (2021)
The Wire (2020)
The New York Times (2017)
Bomb (Nov 2017)
Revista Diagrama (Universidad Finis Terrae, Santiago, Chile, Dec 2019), interview by Francisca García
3:AM (May 2017)
Festival of Ideas (2017)
Queer(y)ing the Curriculum, for LGBTQ+@Cam (2019)
Critical Inquiry (2020)
Entropics/University of Southampton (Feb 2017)
University of Cambridge, Festival of Ideas, Speaker Spotlight (2017)
Hyperallergic (2018, 2019),
Boston Review
Times Literary Supplement (2018)
Chicago Review (2019)
Tripwire 14: The Red Issue (2018) and Tripwire 13: Dialogues (2017)
Music & Literature (2016 and 2017)
Hix Eros (2018, 2016, 2015)
Publisher’s Weekly (2015)
Flavorwire (2015)
Tears in the Fence (2015, 2017)
Bookslut (2014)
Harriet/Poetry Foundation (e.g. ‘Five Radicals’, Mónica de la Torre on Subsisters, and most recently on Provisional Avant-Gardes)
Galatea Resurrects (2018)

MONOGRAPH
Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital (Stanford University Press, 2019).
Touching Language: Queer Writing in/as Performance, work in progress.

ESSAYS
‘Lessons of Decal (Language as Repertoire)’, Performance Research, 29.1 On Repertoire, ed. by Mischa Twitchin [FORTHCOMING 2024]
With Naomi Woo, ‘The Minutes of the Hildegard von Bingen Society for Gardening Companions: Tools in the Garden Shed’, Performance Research, 28.2 On Meeting (Nov 2023), 26-28.
‘Too Good to Be Entirely True (A Coda on the Pleasure of Archives and Avant-Garde Publishing)’, Textual Practice, forthcoming 2024.
‘Playing with Knowledge: On Lecture Performances’, TDR/The Drama Review, vol. 66, no. 3 (Sept 2022), 78-95. [See Publications - Essays for PDF]
“A Laboratory of Sensations”: Listening for Texture’, OEI (2023), ed. by Michael Nardone.
‘Fuck it Let’s Do it, Despite the Odds’—A Very Eclectic Survey and Some Thoughts on Contemporary Magazines’, Post45. 2023.
’Books that Hold Performance’, Bomb, 151 (Mar 2020).
Contribution to ‘New Narrative: A Collective Interview’, ed. by Kasia Boddy and Diarmuid Hester, Textual Practice (2020) [forthcoming].
‘“Reality is there to be corrected”; or, How I Toyed with the Enlightenment’, 9 West Road (Cambridge Faculty of English, Oct. 2019).
‘Little Magazines: Producing and Re-producing Avant-Garde Communities’, ‘Re’– Interdisciplinary Network Blog (26 August 2019), online.
‘The Politics of the Forum in Feminist Avant-Garde Magazines after 1980’, jml: Journal of Modern Literature, 42.1 (Fall 2018), pp. 163-182.
‘Thinking the Unprintable in Contemporary Post-Digital Publishing’, Chicago Review, 60.4 (Fall 2017), 175-194.
’Tom Raworth’s Little Magazines: Outburst, Before Your Very Eyes!, and Infolio’, Critical Quarterly, 59.2 (Summer 2017), 11-33.
‘Lodging & Dislodging the Little Magazine: A Google Document Conversation in Fifteen Parts’, commissioned article, co-written with Danny Snelson, for the print and digital magazine Hotel (April 2017).
‘On Peter Larkin’, unAmerican Activities, 1 (New York, May 2013).
‘The Ethics of Attention in Peter Larkin’s “Leaves of Field”’, Cordite Review, 44 (Summer 2013). Peer-reviewed open access publication.

BOOK CHAPTERS
‘Contemporary Experimental Translations and Translingual Poetics’, in Reading Experimental Writing (Edinburgh University Press, 2019).
‘Enclosing “Rape” in Peter Larkin’s “Five Plantation Clumps Near Twopence Spring”’, in Were X a Tree: Glosses on Larkin, ed. by Amy Cutler (Dec 2018), open-access creative-critical publication, online at Poetry at Warwick.

AS EDITOR
The Blind Man (Ugly Duckling Presse, 2017). Listed as one of the Best Art Books of 2017 in the New York Times.
Cordite Review: A British & Irish Issue, co-edited with Matt Hall, 49.1 (March 2015), online.

REVIEWS
‘Lines Dancing’, The Times Literary Supplement (6 Dec 2019).
’You Had to Be There: Getting to Grips with Performance Art’, The Times Literary Supplement (Apr 2019), p. 27.
‘Mistakes Like Passport Stamps’, Times Literary Supplement (16 Feb 2018), p. 16.
Review of Gabriel Rockhill’s Radical History & The Politics of Art (2014), in Modernism/modernity, 22.4 (November 2015).
‘Grace Notes for Bernadette’, review of Bernadette Mayer’s republished Sonnets (Tender Buttons Press, 2014), Lemonhound (March 2015),

INTERVIEWS
‘A “Xerox Coup d’Etat”:  Sophie Seita Interviews Kevin Killian about Editing Mirage and Mirage #4/Period[ical]’, Poets House (15 October 2018), Originally published by CLMP [Community of Literary Magazines and Presses]: Front Porch Commons (September 2015).
‘On Alembic’, Interview with the magazine editors Ken Edwards and Robert Hampson, Mimeo Mimeo, 9 (2014), republished online on Jacket2 (Fall 2017).

‘The Little Magazine’, Poets House, NYC, 15 May–8 Sep 2018.

‘A Century of Avant-Garde Little Magazines’, English Faculty, first floor gallery space, University of Cambridge, 30 May–15 Jul 2017.

Segue Series, for poets and artists, New York, Feb-Mar 2016. Co-curated with Bridget Talone. Readers: Rosmarie Waldrop, Rae Armantrout, Sandeep Parmar, Myung Mi Kim, Lisa Jarnot, Ian Heames, and Liz Howard. The other readers (introduced by my co-curator Bridget Talone) were: Lara Mimosa Montes, Dawn Lundy Martin, Aaron Kunin, Kathleen Fraser, Cody-Rose Clevidence, Joey Yearous-Algozin, and Lanny Jordan Jackson.

‘unAmerican Activities’, a simultaneous transatlantic reading series between London / Cambridge and NYC. Co-curated with Luke McMullan and Ian Heames. Readers: Susan Howe, Steve McCaffery, Allen Fisher, Erica Hunt, Abigail Child, Wendy Mulford, Peter Manson, Julie Patton, Sean Bonney, Peter Larkin (incl. short post-reading remarks on Larkin by JH Prynne), Wendy Lotterman, Josef Kaplan, Holly Melgard, Mat Laporte, Nat Raha, Frances Kruk, Thom Donovan, Justin Katko, Christina Chalmers, Uljana Wolf, Christian Hawkey, Sam Walton, Jow Lindsay, Verity Spott, Corina Copp, Amy De’Ath, Michael Tencer, Jeremy Hardingham. Recordings archived at Archive of the Now, 2013-2015.

Curator of other readings, performances, screenings in Cambridge, London, Boston, New York: Margaret Rhee, Jen Calleja, Uisenma Borchu, Andrea Brady, Jocelyn Spaar, Rachel Warriner, Laura Elrick, Marie Buck, Corina Copp, Holly Pester, Jessica Pujol Duran, Kayo Chingonyi, Caspar Heinemann, Wendy Lotterman, Ian Patterson, Peter Hughes, Ulrike Almut Sandig, Erin Robinsong and Andréa de Keijzer, Matvei Yankelvich.

Editor of magazines (1*; Contingencies; Cont’d: Facsimile of a Magazine), 2011-2015.

2024
Werner Düttmann Fellowship, Akademie der Künste (the German Academy of the Arts), Berlin.
International Science Partnerships (ISPF) Institutional Support Grant (ODA)
2023
Early Career Research Fund Award, Goldsmiths, University of London
Arts Council England, Project Grant, for The Hildegard von Bingen Society for Gardening Companions
Visiting Artist/Professor, Cornell University, Humanities Scholars Program
Artist in Residence, Literary Arts, Brown University
Research & Development Grant, NEUSTART KULTUR im Programm #TakeHeart, Fonds Darstellende Künste e.V.
2022
Dorothea Schlegel Artist in Residence, EXC 2020 "Temporal Communities", Berlin
Art catalogue publication grant, Hessisches Ministerium für Wissenschaft und Kunst, Frankfurt, Germany
Canada Council for the Arts, Explore and Create: Concept to Realization, with Naomi Woo
Residency, The Red House, Britten Pears Arts Foundation, Aldeburgh, UK.
a-n Time Space Money, with Kate Clayton
Seeding Space Bursary, London Performance Studios
The Eaton Fund
Hello Again, Hackney, with Hoxton253 art project space
2021
Creative Scotland, Open Fund, with Kate Clayton (2021-22).
Canada Council for the Arts Grant, with Naomi Woo (2021-22)
Radialstipendium [grant], Deutscher Übersetzerfond [German Translation Fund]
Residency, The Red House, Britten Pears Arts Foundation, Aldeburgh, UK.
British Council, Canada Council for the Arts, Farnham Maltings, and The High Commission of Canada in the UK, with Naomi Woo
Dover Art Prize, County Durham Community Foundation, for The Gracious Ones.
Women’s, Gender, & Sexualities Studies Program Grant
2020
Constellations, artist development programme; organised by Up Projects and Flat Time House
a-n Bursary: Time Space Money, with Kate Clayton, for Pearl & Theory Make Compost
Eccles Centre Fellowship, British Library, London, for Lessons of Decal (2020-2023)
1-week-long residency at Jawaharlal Nehru University, New Delhi. (Invited)
3-week residency at T.S. Eliot House, Gloucester, MA
Arts Initiative Boston University for the curation of a new event series.
Women’s, Gender', & Sexualities Studies Small Grant for The Gracious Ones (a new video and performance work).
2019
Women’s, Gender, and Sexualities Studies Program Small Grant, for The Gracious Ones
Academic Enhancement Fund, Boston University (for the organisation of poetry readings and talks in conjunction with teaching).
Arts and Humanities Impact Fund Award. For a solo exhibition of My Little Enlightenment Plays.
2018
Raven Row, London, in-kind support for R&D workshops.
Vice-Chancellor’s Public Engagement Award (Winner). University of Cambridge. For My Little Enlightenment Plays.
Smuts Grant for the conference Race, Poetry & Poetics in the UK.
Lambeth City Council, production grant for Emilia Galotti’s Colouring Book of Feelings, at Art Night London 2018.
Cambridge Humanities Research Grant for Emilia Galotti’s Colouring Book of Feelings.
Queens’ College, funding for Research & Development workshops for Emilia Galotti’s Colouring Book of Feelings; and research travel for a new book on performance.
Public Engagement Starter Fund, Cambridge, for two R&D workshops and a performance of Emilia Galotti’s Colouring Book of Feelings.
2017
Judith E. Wilson Grant for a performance of Les Bijoux Indiscrets, or, Paper Tigers.
Cambridge Humanities Research Grant for My Little Enlightenment Plays, a project that bridges research, experimental performance, and installation.
Weil Fund, Queens’ College, Cambridge, for research in New York.
2016
Various Judith E. Wilson Grants to curate readings and artists’ talks in Cambridge, 2016-18.
Asymptote Close Approximations Translation Contest.
Artist Residency, The Guesthouse, Cork, Ireland, part of the SoundEye Poetry Festival.
2015
New York University. Professional Development Grant.
PEN American Center. PEN/Heim Translation Award, to translate Subsisters: Selected Poems by Uljana Wolf.
Princeton University. PU Library Research Fellowship.
2014
Archive of the Now, travel grant.
Yale University. Visiting Graduate Student Fellowship, Beinecke Rare Book & Manuscript Library.
Queen Mary University of London. Postgraduate Research Initiative Fund, and QMUL Arts and Culture Fund.
Wonder Book Prize, New York, for translating i mean i dislike that fate that i was made to where, by Uljana Wolf.
2013
New York Public Library. Wertheim Scholar, 2013-16.
SUNY Buffalo. Charles D. Abbott Library Fellowship, Poetry Collection.
University of Cambridge. Judith E. Wilson Fund. For ‘unAmerican Activities Transatlantic Reading Series’, 2013-15.
Columbia University. Two grants for ‘unAmerican Activities Transatlantic Reading Series’, Arts Initiative/The Gatsby Charitable Foundation.
2011
Scholar of Studienstiftung’s Interdisciplinary Humanities Research Consortium, 2011-13.
Studienstiftung des deutschen Volkes (German National Academic Foundation). M.Phil. scholarship.
2010
Studienstiftung des deutschen Volkes. Hölderlin Scholarship for Academic Excellence.
2009
DAAD (German Academic Exchange Service) scholarship.
2008
Scholarships for interdisciplinary Studienstiftung summer academies, 2008-10.
Studienstiftung des deutschen Volkes. Fully-funded Degree Studentship, 2008-11.

2023
A Score for Verbs (Unpacking my Performance Library), Cornell University, 10 Apr 2023. 
A Score for Verbs, Royal College of Art, London, 30 Mar 2023.
2022
‘Translation as Reading, as Movement, as Pedagogy’, part of ‘Übersetzen im Gespräch’, Freie Universität Berlin.
‘Decals of Love’, Courtault Institute of Art, 12 May 2022.
2021
‘Silent Pillow for a Generation: On Magazines and Artistic Communities’, talk, Athens Art Book Fair
Contribution to the panel ‘Performative Critique’, Manifold: Experimental Criticism (ONLINE)
2020
‘Let it Percolate: A Manifesto for Reading’, Harvard University, 6 Mar 2020; and Brown University, 28 Feb 2020.
Contribution to a #metoo event at Boston University’s Center for the Humanities, 27 Feb 2020.
2019
Book launch and conversation with Thom Donovan, Printed Matter, New York.
’Feminist and queer’ avant-garde magazines, Strange Perfume, South London Gallery. 14-16 June 2019, and for Montez Radio.
Roundtable with Joanna Walsh and others, for Out of the Air: Women, Creativity, and Intelligence Work, Bletchley Park, hosted by Natalie Ferris..
Keynote lecture ‘Translating the “Blur-Print” in Uljana Wolf’s Translational Poetics’, German Studies Conference ‘Grenzenlose Möglichkeiten’, University of Cambridge, and at King’s College London, Oct 2018.
‘Provisional Avant-Gardes’, Po-Ex: Simposio Internacional De Poesía Experimental, Universidad Finis Terrae, Santiago, Chile.
2018
Artist talk/performative lecture on My Little Enlightenment Plays, at SAAS Fee Summer Institute of Art, Berlin,.
‘“I see, said the blind man”: An Evening of Readings and Discussion’, at Anita Rogers Gallery, New York,.
‘Institutional Critique and Editorial Practices’: an evening of Dada-inspired conversation, Mary Ann Caws, Thierry de Duve, David Joselit. Center for the Humanities, CUNY, New York,.
Invited speaker, ‘Multilingual Writing’, British Library, a conversation with Antoine Cassar and Jen Calleja.
2017
Contribution to a symposium on Kevin Killian, for Poets & Critics, Universités Paris 7 & 8.
‘Against Literary Efficacy’, for a roundtable on ‘The Social Efficacy of Form’, Modernist Studies Association 19, Amsterdam.
‘Poetics of POD: Inscribing Digital Printedness’, Embodying Media: From Print to the Digital, University of Cambridge.
“At Least Do Not Do Harm”: Reading the Avant-Garde Beyond Militancy’, Violence, Cruelty, Avant-Garde, University of Sussex.
2016
‘Minimalist Procedures Against the Precious Poem’, Minimalism: Location Aspect Moment, University of Southampton/Winchester School of Art.
’Thinking the Unprintable’, Symposium on Literary Criticism and the Small Press, University of Westminster, London.
‘The Lengevitch of Uljana Wolf: Literature and Migration’, Goethe-Institut New York.
2015
‘“Must I go home filled | with a bad poem?”: Bad Poetry for the Revolution’, Modernist Studies Association 17.
‘People You May Know: Feminist Literary Communities in Print and Online’, talk and poetry reading at New Jersey Institute of Technology,
2013
‘Formal Outliers: The Heterogeneity of the Avant-Garde Little Magazine’, talk at Poetry Collection, SUNY Buffalo.
‘“What is “291”?’ The Little Magazine as Fetish, and the Archival Pilgrimage of the Critic’, Princeton University.
‘“L’artiste nouveau proteste: il ne peint plus”: The Literary Circles of Dada—Publishing Ephemerality’, New York University,
2012
”To Dream’s More Violent Than To Act”: Kathy Acker’s Wilful Fakery of Experience’, World Picture Conference, University of Sussex.
‘Conceptual Bodies in Christine Brooke-Rose’s and Kathy Acker’s Anti-Memoirs’, University of East Anglia.

SEMINARS, WORKSHOPS, CONFERENCES (SELECTION)
Co-organiser (with Alexander Rehding) of Sound/Text, at the Mahindra Humanities Center, Harvard University, Fall 2019—.
Experimental translation and queer poetry workshop, St Anne’s College, Oxford University, Nov 2021.
Artist talk and workshop on the theme of ‘Language as Material & Performing (with) Objects’, Kingston School of Art, Nov 2021
Co-convenor of the ‘Re’ Interdisciplinary Network, CRASSH, Cambridge, 2018-2019.
Facilitator of a queer performance workshop, for the Kite Trust (LGBTQ+ charity for young people in Cambridge), funded by the Arts and Humanities Impact Fund.
Co-organiser of the second conference of Rapapuk (Race & Poetry & Poetics in the UK), 26-27 Oct 2018, at Queens’ College, Cambridge..