Jennifer Teets

Electric Brine is a volume of poetry and critical essays by women voices from diverse fields such as literature, geography, media studies, history of life sciences, sociology, and poetics of science and fiction, each of them central to the independent curatorial research entity The World in Which We Occur (TWWWO, 2014-ongoing) and its associated online study group Matter in Flux.

Conceived as an anthology and a register, it serves as a testimony to the initiative's long-standing work of creative adaptation and ecological inquiry through a quest to situate a vision of material politics through the lens of six punctuated pieces on flow and fluids. The literary and scientific fabulations found in these pages speak of the conjunction of lived embodiment, the materialized quality of language, and the ability to trigger political imagination through reading, writing and witnessing. Each of these strands polyperform under TWWWO, for they can be traced, retroactively, to the themes present in the live event series, to Matter in Flux's private study sessions, to the initiative's collective writing work presented in public venues and publications. Also included in this volume is an appendix documenting the years of invitation and study, intricately linked to the ideological praxis of these overlaps.

Co-founded in 2014 by Jennifer Teets and Margarida Mendes, The World in Which We Occur (TWWWO) is an independent curatorial research-based entity that collaborates with artists, scientists, science historians, philosophers, anthropologists, activists and more as it explores themes concerned with artistic inquiry, philosophy of science, and ecology. TWWWO began as a live talk-event series over the telephone and has thus expanded to other formats involving experiments with educational actions, discursive talks, and events via diverse methodologies.

Introduction by Jennifer Teets and Margarida Mendes.
Texts and contributions by Dionne Brand, Barbara Orland, Sophie Lewis, Esther Leslie, Hannah Landecker, Lisa Robertson. 

Graphic design: Sophie Keij & Atelier Brenda.

This book offers the first comprehensive overview of Anna Franceschini's practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.

Machines Wear Costumes is Anna Franceschini's first monograph, bringing together works made between 2007 and 2025. Rather than a chronological account, the publication offers an in-depth look at the artist's oeuvre through a specialized lexicon.

This glossary is organized around six core entries—Animation, Body, Machine, Ghost, Desire, and Window—which are further articulated in subentries that refine their meaning in relation to the artist's work. Newly commissioned texts by Mohamed Almusibli, Attilia Fattori Franchini, Ilaria Gianni, Ingrid Luquet-Gad, Jeppe Ugelvig, and Marianna Vecellio are expanded by a constellation of quotations from previously published texts to offer a composite yet coherent interpretation.

Indebted in structure to Walter Benjamin's Das Passagen‑Werk, and in visual approach to Aby Warburg's Mnemosyne Atlas, the book favors juxtaposition and recurrence over linear narrative, mirroring Franceschini's own practice of repetition, rotation, and animation. By resisting a fixed reading order, the volume invites an open and recursive engagement, functioning as a "desiring machine," activated anew through each act of looking and reading.

Edited by Attilia Fattori Franchini, Anna Franceschini, Ilaria Gianni.

Texts by Chiara Agradi, Mohamed Almusibli, Fabio Cherstich, Liv Cuniberti, Gioia Dal Molin, Bernardo De Souza, Vincenzo di Rosa, Attilia Fattori Franchini, Francesco Urbano Ragazzi, Ilaria Gianni, Ingrid Luquet-Gad, Beniamino Marini, Nick Mauss, Giacomo Mercuriali, Alice Motard, Tabea Panizzi, Tobias Perse, Jennifer Teets, Roberta Tenconi, Jeppe Ugelvig, Joel Valabrega, Marianna Vecellio.