Jessika Khazrik (b. 1991 between Beirut and Baghdad; lives and works in Beirut and Paris) is indisciplinary. Her practice in art, science, literature, and urban research explores the influence of the aesthetics of knowledge on spatial politics. For the past four years, she has been enmeshed in investigations related to scatology, ecotoxicology, and the influence of militarization on knowledge, technology, and the everyday. In her performances, writing, and indisciplinary work, Khazrik playfully makes intimate the relationship between waste, labor and the works of art and science. This is performed through reading trash as exiled and denied matter that does not belong to the dominant taxonomic orders. In her investigations, she has brought into conversation the global politics of toxic waste trades with the use of war and domestic work as testing grounds for Artificial Intelligence, as well as cryptography and the history of the x-band military history in relationship to space junk. Ranging from a sound essay on toxicity and adolescent love where she turns the acronyms of chemical formulas into poetry, to a horizontal flag that transforms “America” into an Arabic command line, and a technoperformance that speaks of the army and education while collecting the waste of exhibition floors, Khazrik’s work poetically subverts language into matter and performance.

She holds a BA in Linguistics, a BA in Theatre from the Lebanese University, and an Science Masters in Art, Culture and Technology from MIT. She studied in 2012–13 in the post-graduate “Home Workspace Program” at Ashkal Alwan. Her essays and poems have been published in Bidayat Journal, Kohl Journal, Ibraaz, and Almodon among others as well as edited anthologies on literature, science and environmental research. Her recent work includes performances, exhibitions, presentations and automated technoperformances at: Theater der Welt, Hamburg; the Normandy Landfill Beirut; ICA, Boston; Beirut Art Center; Edgerton Center, Cambridge; Chnaniir Quarry, Chnaniir; Center for Documentary Arts and Research, Santa Cruz ; LUMA Foundation, Zurich; Home Works 6, Beirut; Arab Image Foundation, Beirut; La Nonmaison, Aix-en-Provence; Sursock Museum, Beirut; and LACE, Los Angeles. In 2014, she began working under The Society of False Witnesses. At the end of 2017 she will be launching the research space House of False Witness for Ecotoxicological and Indisciplinary Research (HFW) and False Witness Press (FWP).