WIXLIB

Anaïs Duplanb. 1992, Jacmel, HaitiB.A., Bennington CollegeM.F.A., Iowa Writers’ WorkshopBooksBlackspace: On the Poetics of an Afrofuture, Black Ocean, 20209 Poems/The Lovers, Belladonna*, 2018Mount Carmel and the Blood of Parnassus, Monster House Press, 2017Take This Stallion, Brooklyn Arts Press, 2016Group Exhibitions and ScreeningsThe Condition of Being Addressable, ICA Los Angeles, 2021What Is Feminist Art?, Smithsonian Institution, 2021Transcode Manifesto, New Art City, 2020Joyous Dystopia, Daata Editions x Bass Museum, 2019Screenshots: Video Launch with Daata Editions and DIS, NeueHouse, 2019Radical Reading Room, The Studio Museum in Harlem, 2019Give Up the Ghost, Baltic Triennial XIII, 2018The Only Thing That’s New Is Us, Mathew Gallery, 2017

Post-Cyber Feminist International, ICA London, 2017#WanderingWILDING: Movement as Movement, Daata Editions, 2016Readings and PerformancesLanguage is a Temptation: Daily Readings from Bernadette Mayer’s Memory, Poet’s House, 2020Spring Broadside Reading III: Anaïs Duplan & Zahra Patterson, Center for Book Arts, 2020QTPOC Meditation Hour, Montez Press Radio, 2020Black Secrets: it ain’t english words for it, Montez Press Radio, 2020Sci-Fi Sundays: Ulises, Philadelphia Museum of Art, 2020Endgame: Black Artists on an Urgent Black Future, The Fabric Workshop and Museum, 2020Dan Poppick, Mónica de la Torre, Anaïs Duplan, & Christian Schlegel, Greenlight Bookstore, 2019Black Secrets: On Black Musics and the Occult, Montez Press Radio, 2019A Listening Party with Sable Elyse Smith, The Studio Museum in Harlem, 2019In Conversation: On Top of All This, The High Line, 2019The Artists’ Voice: Anaïs Duplan, The Studio Museum in Harlem, 2019Emerging Writers Reading Series: Anaïs Duplan, NYU, 2019Anaïs Duplan, a Reading and Conversation, Brown University, 2019Tuxedo Mascs: A Transmasculine Poetry Reading, Bluestockings, 2019Anaïs Duplan and Julian Talamantez Brolaski, Iowa Writers’ Workshop, 2019VERSES. VOL 1 x Asylum Seeker Advocacy Project, The Kitchen, 2019unbag: Reverie Launch Party, Local Project, 2018Anaïs Duplan, University of Notre Dame, 2018

Celebrate Winter While We Still Have Seasons, Housing Works, 2018Brown Paper Zine and Small Press Fair, Barnard College, 2018Belladonna* Roll Call Reading Series with Anaïs Duplan & Yumi Dineen Shiroma, Belladonna* Collaborative, 2018jubilat/Jones Reading Series hosts Anais Duplan and Zach Savich, UMass Amherst, 2017University of Richmond Poetry Festival: Reading with Anaïs Duplan, Tarfia Faizullah, and Peter LaBerge, University of Richmond, 2017Monster House Presents: A reading by Anaïs Duplan, Fell Gallery, 2017Poetry Poetry VII with Chen Chen, Anaïs Duplan, Rajiv Mohabir & Monica Sok, Asian American Writers’ Workshop, 2017Anaïs Duplan & Loma (Christopher Soto), Poetry Project, 2016Segue Reading Series: Anaïs Duplan & Marie Buck, Zinc Bar, 2016Workshops and TalksStudio LIVE Anaïs Duplan x Legacy Russell, The Studio Museum in Harlem, 2020Black Curators’ Roundtable, Iowa City Public Library, 2019Outside the Box: Anaïs Duplan on Lubaina Himid: Work from Underneath, New Museum, 2019From Score to Speculative Lit with Artist Kameelah Janan Rasheed and Writer Anaïs Duplan, Brooklyn Public Library, 2019Visiting Curator Lecture, Williams College Graduate School of Art, 2018Meet Over Lunch: Anaïs Duplan presents the Center for Afrofuturist Studies, Residency Unlimited, 2018Poetics of Emotional Research, Poet’s House, 2018Residencies and FellowshipsSHIFT Residency, EFA Project Space, 2020-2021New York Foundation for the Arts Emerging Leaders Bootcamp, 2020

Public Programs Fellow, The Studio Museum in Harlem and MoMA, 2017-2019Plughaupt Fellow, Iowa Writers Workshop, 2017Curator-in-residence, Residency Unlimited, 2016Writer-in-residence, Ashbery Home School, 2015Curator-in-residence, HEIMA, 2015Poetry Fellow, Bennington College, 2014Stadler Center Fellow, Bucknell Seminar for Younger Poets, 2013Selection CommitteesA.I.R. Gallery Fellowship, 2021Cogswell College Poetry Contest, 2020Brooklyn Art Council Community Art Grant, 2019Queer Art Prize for Sustained Achievement, 2018Selected Bibliography“Queer Art Workers Reflect: Anaïs Duplan On “Becoming a Better Lover”—Not Just in a Romantic Sense,” Hyperallergic, 2020“The Bigger Picture: Recess,” Gagosian Quarterly, 2020“Anaïs Duplan: An Interview by Madison McCartha,” Action Books, 2020“Why We Should Read Poetry,” BOMB Magazine, 2020“In the Flesh: Body Modification as Art,” Studio Magazine, 2019“Silence in Mount Carmel & the Blood of Parnassus and Take This Stallion,” Ploughshares, 2019“Black curators discuss ‘insiders and outsiders’ in the art world,” The Daily Iowan, 2019

“Going Into My Depths,” Mask Magazine, 2018“THE TOXIC AND THE LYRIC IV: ON ANAÏS DUPLAN: RADICAL INTIMACY AS NEW HISTORY POEM; AS WOUND AND ASCO-BODY; THE SHAKING APART OF ROBERT LOWELL; STRANGE FRUIT AS IED,” Fanzine, 2017“Poet delves into a Civil War spy’s hidden history,” PBS News Hour, 2016

Anaïs Duplan is a trans* poet, curator, and artist. He is theauthor of a book of essays on black digital media artists,Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020),a full-length poetry collection, Take This Stallion (BrooklynArts Press, 2016), and two poetry chapbooks, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017)and 9 Poems/The Lovers (Belladonna*, 2018). His writing hasbeen published by Hyperallergic, PBS News Hour, the Academy of American Poets, and Poetry Society of America. Hehas taught poetry as an adjunct assistant professor at theUniversity of Iowa, Columbia University, Sarah LawrenceCollege, and St. Joseph’s College.Duplan’s video and performance work has been exhibitedat Flux Factory, Daata Editions, the 13th Baltic Triennial inLithuania, Mathew Gallery, NeueHouse, the Paseo Project,and will be exhibited at the Institute of Contemporary Artin L.A in 2021.Photo credit: Walid MohannaDuplan is the founding curator for the Center for Afrofuturist Studies (CAS), a residency program for artists of color. TheCAS is based in Iowa City, where Duplan received his MFA in poetry from the Iowa Writers Workshop in 2017. As an independent curator, he has facilitated artist projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs Fellow at the Museum of Modern Art and the Studio Museum in Harlem. He now works as Program Manager at Recess.

Black SecretsBlack Secrets: On Black Musics and the OccultBlack Secrets: it ain’t english words for itA radio segment produced for Montez Press Radio, Black Secrets brings together poets Anaïs Duplan & Benjamin Krusling,who share music, conversation, and poetry on blackness as a kind of occultism that enables black peoples to protect whatis real and alive inside themselves.Listen to both episodes here.

A Poem by Anaïs DuplanA POEM BY ANAÏS DUPLAN is a set of three video-poems created for Daata Editions. An experiment inmelding the video screen with the page-of-text, the videos feature a line-by-line feed of three of Duplan’s poems: I Think That I Can Love It, about the freedom or lackthereof the Black female body; Why Does It Feel Naturalto Want to Be Stable for the Lady in the Mirror?, a poem ongender instability in the age of social technology; andfinally, The War of Parasites, a meditation on war, animalia, and sex.Each video-poem is set across found footage from archival and/or educational films, often featuring blackand-white images of white people in idyllic situations,volcanic eruptions, physical conflict, running in fear,running with semi-joy, and abstractions of light. Theset of video-poems, A POEM BY ANAÏS DUPLAN attempts to synthesize this particular range of audiovisual and phenomenological experience with the intimacyand habitual quiet of the poem-page.Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?, HDvideo, 2:51All videos can be accessed via Daata Editions.

I Think That I Can Love It, HD video, 2:24The War of Parasites, HD video, 3:08All videos can be accessed via Daata Editions.

Paradigms for Liberation I-IIIWe turn to history for stories that inform our presentmoment. After all, they say that history repeats itself.Similarly, our memories form the basis of the stories wetell about ourselves in the present. Paradigms for LiberationI-III is interested the role of narrative construction in theformation of discrete personal identities. It draws from ashared archive, YouTube, to investigate the stories we tellabout ourselves and our relationships––and celebratesthe redundancies, repetitions, circularities, ambiguities,and breakdowns in those stories.Paradigms for Liberation I-III, HD video, 5:23This video can be accessed via Daata Editions.

The Lovers Are the Audience Who WatchThe Lovers Are the Audience Who Watch is video-poem borrowing its title from a line of poetry by Juliana Huxtable. The sequence is constructed from found footage, largely sourced from music videos and art documentaries that focus on a beloved public figure. The video attempts to excavate moments of intimacy and shared attention from mass-produced digitalartifacts.The Lovers Are the Audience Who Watch, installation shots, Prelude to the 13th Baltic Triennial, HD video, 3 hoursWatch a trailer or watch the first hour. (Full video available upon request)

Ode to the Happy Negro Hugging the Flag in Robert Colescott’sGeorge Washington Carver Crossing the DelawareIn Robert Colescott’s 1975 painting George WashingtonCarver Crossing the Delaware: Page from an American History Textbook, the famed American inventor is depictedstanding at the bow of a rowboat making its way acrossan intrepid Delaware River. Carver is accompanied by aband of Sambo-esque figures, including one Revolutionary War army general who hugs the American flag witha kind of serenity about his expression. The painting isa response to—or a refusal of—an earlier painting by aGerman American artist, completed in 1851, showingGeorge Washington and his all-white cadre in the samescene.Ode to the Happy Negro exists both as a video and a poem.Both explore black selfhood and sexuality against thebackdrop of Colescott’s satire.Ode to the Happy Negro Hugging the Flag in Robert Colescott’s George Washington Carver Crossing the Delaware, HD video, 3:22Watch the video or read the poem.

9 Poems/The LoversPublished by the Belladonna* Series, 9 Poems/ The Lovers is abook of nine poems and screenshots. The poems are a seriesof ekphrastic responses to works by video artists and experimental filmmakers of color, including Martine Syms, MonaHatoum, Tony Cokes, and Kevin Jerome Everson. The poemsare accompanied by screenshots from The Lovers Are the Audience Who Watch.Available online and upon request.

Private PartyConceived as a performance piece for a photographer, two models, and a director, Private Party was an opportunity to witness oneself performing in the public gaze. Live video footage and sound, sourced from YouTube and Taos radio formed thebackdrop against which performers of color worked through a series of meditations intended to explore personality, ambition, the experience of being seen as a brown body, and love. As a durational, live experiment lasting four hours, PrivateParty explored the friction between technology and intimacy, framing and knowing, seeing and being.Read the performance score.

INNTERDISCIPLINEA public program hosted at Friends and Lovers, INNTERDISCPLINE celebrated QTPOC artists who use performance and newmedia to work towards liberation. The night featured work byShawné Michaelain Holloway, Paula Pinho Martins Nacif, YvesB. Golden, Precious Okoyomon, Ray Ferreira, Keijaun Thomas,Sean D. Henry Smith, and Jayson P. Smith. Presented in partnership with Final Fantasy Reading Series and Roshan Abraham, INNTERDISCIPLINE combined live performance with video, music,poetry, and sound art.Keijuan Thomas