In part 2 of this podcast, Firat Oruc, Georgetown University in Qatar, speaks to Stacey Balkan, Assistant Professor of Environmental Literature and Humanities at Florida Atlantic University, and Swaralipi Nandi is an Assistant Professor of English at Loyola College, Hyderabad, India.

Stacey Balkan is Assistant Professor of Environmental Literature and Humanities at Florida Atlantic University.  She is co-editor of Oil Fictions: World Literature and our Contemporary Petrosphere (Penn State Press, 2021); and she is the author of Rogues in the Postcolony: Narrating Extraction and Itinerancy in India (West Virginia University Press, 2022).  Stacey’s current book project is titled Black Anthropocene Vistas; and her recent work also appears in ISLE: Interdisciplinary Studies in Literature and Environment, Revue Études Anglaises, Energy Humanities, The Global South, Global South Studies, Mediations, and Social Text Online.

Swaralipi Nandi is an Assistant Professor of English at Loyola College, Hyderabad, India. She is the co-editor of The Postnational Fantasy: Essays on Postcolonialism, Cosmopolitics, and Science Fiction (McFarland), Spectacles of Blood: A Study of Violence and Masculinity in Postcolonial Films (U Chicago/Zubaan), and  Oil Fictions: World Literature and our Contemporary Petrosphere (Penn State Press, 2021). She is currently working on extractivism and colonial commodity frontiers of India in Bengali fictions of wood, coal and indigo.

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In part 1 of this episode on World Energy Literature, Stacey Balkan, Assistant Professor of Environmental Literature and Humanities at Florida Atlantic University, speaks to Firat Oruc, Georgetown University in Qatar.

Stacey Balkan is Assistant Professor of Environmental Literature and Humanities at Florida Atlantic University.  She is co-editor of Oil Fictions: World Literature and our Contemporary Petrosphere (Penn State Press, 2021); and she is the author of Rogues in the Postcolony: Narrating Extraction and Itinerancy in India (West Virginia University Press, 2022).  Stacey’s current book project is titled Black Anthropocene Vistas; and her recent work also appears in ISLE: Interdisciplinary Studies in Literature and Environment, Revue Études Anglaises, Energy Humanities, The Global South, Global South Studies, Mediations, and Social Text Online.

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Part I of the conversation between Trish Kahle speaks and Victor Ehikhamenor, a Nigerian artist, photographer, and writer, about his installation The Wealth of Nations, and the practice and politics of representing oil and nation in Nigeria.

Victor Ehikhamenor is a Nigerian artist, photographer, and writer. Ehikhamenor has been prolific in producing abstract, symbolic, and politically/historically motivated works. A 2020 National Artist in Residence at the Neon Museum in Las Vegas, Nevada, Ehikhamenor is a 2016 Rockefeller Foundation Bellagio Fellow and has held several solo exhibitions and his work has been included in numerous group exhibitions and biennales, ranging from the 57th Venice Biennale as part of the Nigerian Pavilion (2017), to the 5th Mediations Biennale in Poznan, Poland (2016), the 12th Dak’art Biennale in Dakar, Senegal (2016), and the Biennale Jogja XIII, Indonesia (2015). As a writer, he has published fiction and critical essays in global academic journals, magazines, and newspapers, such as the New York Times, the BBC, CNN Online, and the Washington Post, among others. His works are housed in private and public collections around the world, including the Museum of World Art, Netherlands; the Modern Forms Collection, London; The Peggy Cooper Cafritz Collection, Washington, D.C., and Access Bank Plc, Nigeria. Ehikhamenor is the founder of Angels and Muse in Lagos, Nigeria, a thought laboratory dedicated to the promotion and development of contemporary African art and literature.

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Part II of the conversation between Trish Kahle speaks and Victor Ehikhamenor, a Nigerian artist, photographer, and writer, about his installation The Wealth of Nations, and the practice and politics of representing oil and nation in Nigeria.

Victor Ehikhamenor is a Nigerian artist, photographer, and writer. Ehikhamenor has been prolific in producing abstract, symbolic, and politically/historically motivated works. A 2020 National Artist in Residence at the Neon Museum in Las Vegas, Nevada, Ehikhamenor is a 2016 Rockefeller Foundation Bellagio Fellow and has held several solo exhibitions and his work has been included in numerous group exhibitions and biennales, ranging from the 57th Venice Biennale as part of the Nigerian Pavilion (2017), to the 5th Mediations Biennale in Poznan, Poland (2016), the 12th Dak’art Biennale in Dakar, Senegal (2016), and the Biennale Jogja XIII, Indonesia (2015). As a writer, he has published fiction and critical essays in global academic journals, magazines, and newspapers, such as the New York Times, the BBC, CNN Online, and the Washington Post, among others. His works are housed in private and public collections around the world, including the Museum of World Art, Netherlands; the Modern Forms Collection, London; The Peggy Cooper Cafritz Collection, Washington, D.C., and Access Bank Plc, Nigeria. Ehikhamenor is the founder of Angels and Muse in Lagos, Nigeria, a thought laboratory dedicated to the promotion and development of contemporary African art and literature.

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Part I of the conversation between Vicky Googasian and Santiago Acosta, a Postdoctoral Fellow at SUNY-Old Westbury about Venezuelan oil literature, about his work on a book project entitled, "We Are Like Oil: An Ecology of the Venezuelan Culture Boom, 1973-1983."

Santiago Acosta is a scholar and poet working at the intersections of literature, visual culture, and political ecology. He holds a Ph.D. in Latin American and Iberian Cultures from Columbia University and is currently a Postdoctoral Fellow at SUNY-Old Westbury. His book project, "We Are Like Oil: An Ecology of the Venezuelan Culture Boom, 1973-1983", examines the relationship between the visual arts, cultural institutions, and state-led ecological transformations in Venezuela during the 1970s oil boom. His poetry collection El próximo desierto (The coming desert) won the 2018 José Emilio Pacheco Literature Prize “City and Nature,” awarded by the Guadalajara International Book Fair (FIL) and the Museum of Environmental Sciences of Guadalajara University.

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Part I of the conversation between Vicky Googasian and Santiago Acosta, a Postdoctoral Fellow at SUNY-Old Westbury about Venezuelan oil literature, about his work on a book project entitled, "We Are Like Oil: An Ecology of the Venezuelan Culture Boom, 1973-1983."

Santiago Acosta is a scholar and poet working at the intersections of literature, visual culture, and political ecology. He holds a Ph.D. in Latin American and Iberian Cultures from Columbia University and is currently a Postdoctoral Fellow at SUNY-Old Westbury. His book project, "We Are Like Oil: An Ecology of the Venezuelan Culture Boom, 1973-1983", examines the relationship between the visual arts, cultural institutions, and state-led ecological transformations in Venezuela during the 1970s oil boom. His poetry collection El próximo desierto (The coming desert) won the 2018 José Emilio Pacheco Literature Prize “City and Nature,” awarded by the Guadalajara International Book Fair (FIL) and the Museum of Environmental Sciences of Guadalajara University.

Hosted on Acast. See acast.com/privacy for more information.

Hosted on Acast. See acast.com/privacy for more information.

Hosted on Acast. See acast.com/privacy for more information.