Udgivelser
25.3.2026: “Den kriminelle udlænding – Kategorifetischisternes valg” – kronik på Solidaritet.dk
23.3.2026: “Voldens og håbets frugter” – anmeldelse af Aaiún Nins digtsamling Se! i Standart #1 2026
11.10.2025: “Ny politisk litteratur og utopien som vagthund i krisetider” – anmeldelse af Tue Andersen Nexøs Fælles Liv: Utopiske modbilleder til velfærdsstaten i ny dansk litteratur på Solidaritet.dk
Oktober 2025: “Stemme fra en brun elite” – anmeldelse af Haidar Ansaris langdigt normaliseret i Standart #3 2025
22.9.2025: “Tidens og sprogets politiske virkelighed” – anmeldelse af Jacob Lunds Transformation af virkelighed: Tekster om litteratur, kunst, politik i tidsskriftet Passage – tidsskrift for litteratur og kritik
8.5.2024: Contesting Border Imaginaries: The Utopian Aesthetics of Contemporary Border Poetry – Ph.d.-afhandling (Bedømt af Karen-Margrethe Simonsen, Johan Schimanski, Stefan Jonsson).
22.1.2024: “Eyes in the Sky: EU Border Technology in the Mediterranean” – indlæg på Border Criminologies Blog, Oxford University, skrevet med Ahlam Chemlali
26.6.2023: “EU’s øjne over havet: Ny grænseteknologi skubber til vores grænser” – artikel på Eftertrykket.dk skrevet sammen med Ahlam Chemlali
12.7.2022: “Forhandlinger af grænsens rum” – forskningsartikel i Passage – tidsskrift for litteratur og kritik
September 2021: “Forord” til kapitel om politik i antologien Monster & Politik
Marts 2021: “Connections of Difference: A Dialogue on the Complex Relations and the Transformative Spaces In-between Aesthetics and the Political” – forskningsartikel i The Comparative Media Arts Journal skrevet med Maj Ørskov
31.10.2020: “Lad mig tegne dine grænser: Fremtidsvisioner og historisk temporalitet i Athena Farrokhzads ‘Brev til Europa’ – artikel i Kulturo #50
30.4.2019: “Horizons Without Borders: Wendy Trevino’s Cruel Fiction and the Utopian Poetry of the Commune” – forskningsartikel i Studies in Arts and Humanities Journal
19.4.2019: “Dressing for the future in clothes of the past: On the temporality of fashion” – artikel i antologien Arcade materials om Walter Benjamins Passageværk
10.4.2019: “Ugens kunstner: Kristoffer Ørum” – profilartikel på kunsten.nu (senere Art Matter)
26.11.2018: “Fra sportsstjerne til ledestjerne” – artikel på atlasmag.dk
1.10.2015: “Menneskets messianske karakter” – artikel i mosaikk #2 – Tidsskrift for Institut for kunst og kulturvidenskab
Redaktør
Medredaktør på antologien Kollektiv Kunstforskning (med Maj Ørskov, Mille Breyen Hauschildt og Gustav Johannes Hoder), Forlaget Aleatorik, 2027
Medansvarlig redaktør på Passage #87: Europpæiske grænser (med Søren Frank og Adam Paulsen), 2022
Redaktion på Indledning til æstetikken af G.W.F Hegel, udgivet på Forlaget Sendmund, overs. af Jacob Bittner, 2019
Redaktion på antologien Monster & Politik (med Henrik Majlund), forlaget Majlund, 2021
Oplæg
11.10.2025: “Against the Inner Life of Great Men: Crisis and Aesthetic Form in Asta Olivia Nordenhof’s Djævlebogen” – oplæg ved konferencen Abolition arrangeret af Selskab for marxistiske studier
Abstract: Danish author Asta Olivia Nordenhof’s narrator ends the preface in Djævlebogen, the second instalment in her novel-septology on the Scandinavian Star ferry tragedy, with the statement: “while struggling / to write / a real book / on the inner life / of great men / my
motto / here it comes / it is simple and / good: / fuck men! (…) I can do / what I want / so this is / my book (…) an erotic thriller / about businessmen and / the devil / it is / some poems / about love / a speech / from the mad house.” The project statement of Nordenhof’s books was to examine capitalism through the insurance arson of the Scandinavian Star ferry in 1990. However, the notion of containing this project within the novel form seem to be crumbling. This crumbling is turned into a literary reflection on the possibility of great narratives of literature in times of crisis by Nordenhof. In this paper, I argue that Djævlebogen, and the septology’s published volumes, can
be viewed as a literary response to the global crises of today – a response shaped from a sense of impossibility of giving form to crisis.
I situate my analysis in dialogue with theory ranging Adorno’s thinking on the impossibility of poetry after Auschwitz, Peter Osborne’s
writing on crisis and form, Joshua Clover’s writing on literary form and capitalism, and feminist work on care and anti-narrativity from
for example Silvia Federici and Ursula K. Le Guin.
11.3.2023: “Hvad er en grænse?” – oplæg ved Bog Bazar i arrangeret af Studenterhuset og Stakbogladen på Aarhus Universitet i anledning af Århundredets Festival med temaet Grænser.
Om oplægget: I oplægget trækker jeg på min forskning i grænser og samtidspoesi for at stille spørgsmålet: “Hvad er en grænse?”. Jeg viser gennem eksempler fra skønlitteratur og æstetisk grænseforskning, hvordan landegrænser, som vi normalt forstår som statiske linjer, er meget mere end bare statiske, men at de er fleksible og formbare og indvirker i, hvordan identitet skabes på forskellige måder.
8.10.2022: “Your Border is a Fiction: Aesthetic Counter Historical Temporalities in Wendy Trevino’s Cruel Fiction” – oplæg ved konferencen Time and History in the Age of Capital arrangeret af Selskab for marxistiske studier
Abstract: Contemporary critical aesthetics are beginning to take shape in response to the violence of borders and the discursive reproduction of border violence around the world (Brambilla & Jones 2019). Someforms of aesthetic production seek to unsettle historical narratives and imaginaries around the construction and necessity of borders. In this presentation, I analyze the collection of poems Cruel Fiction (2019) by the American poet Wendy Trevino with a special attention to how the poems offer ways of critically engaging with the imaginaries and narratives around American bordering. In the analysis, I highlight how especially Trevino’s invocation of communal forms such as plural “We’s,” and her inclusion of personal memories of living in the US- Mexico borderland and historic revolutionary moments in Mexican-American history offers alternative radical historical border temporalities. Drawing on the border aesthetics tradition (Schimanski & Wolfe 2019, Schimanski Nyman 2021) and on critical utopian theory focused on history and memory as utopian acts (Abensour
2006/2008, Benjamin 1950/2007, Löwy 2006/2016, Rigney 2018), I argue that Cruel Fiction is uniquely connected to the political struggles against borders and immigration policies in the USA, and she forms this connection between poetry and political struggle in the figure of the commune as a form of inclusive communal imaginary. The paper concludes that the communal imaginary is built on memories of past migration struggles, and imaginaries of the future to function as a place of open reproduction of identity, freed from the capitalist reproduction of oppressive border identities.
9.10.2020: “Look Away and Let Die: Border Violence at the Shores of Europe” – oplæg ved konferencen Marx Nu: Borders and Boundaries arrangeret af Selskab for marxistiske studier.
Abstract: “The boat drifted SSW for seven to eight days before it encountered a military ship between 3 and 5 April (point E). Despite approaching them in circles and witnessing the distress of the passengers,the ship left without assisting them.” In this description of a boatcarrying refugees from Libya to Lampedusa in Italy from the art installation The Left-to-Die-Boat a survivor tells of a meeting with a military boat deliberately ignoring the law of the sea by not rescuing the passengers from the boat. Two later died. The artwork is made
by the research community Forensic Architecture as a part of the trial against the responsible border authorities who let the boat run
aground. Taking the The Left-to-Die-Boat as my starting point I seek to investigate different forms of border power in relation to EU’s border efforts in the Mediterranean. In the analysis of The Left-to-DieBoat, I will especially emphasize how border control functions not
only as a “top-down” power relation, but as form of control taking form as a social, processual mechanism; as Bordering (Van Houtum
& Naerssen 2002; Brambilla 2015, 2017; Mbembe 2018, 2003 (2019)) and as a spatio-temporal entity, as a so-called Borderscape (Mezzadra & Neilson 2013; Brambilla 2015, 2017; Brambilla & Jones 2019). Based on the artwork analysis and the exposé of the two theoretical concept, I want to argue that the installation raises questions to contemporary forms of border control that constitute the European border complex: A complex that operates through inclusion and exclusion at the same time – as a mechanism shaped by law, militarization and identity-processes working by complicating migration routes and look away when casualties show up at border crossings. In conclusion, I seek to discuss how the artwork both shows how the complexity of EU’s border control shields from criticism, and also shows holes of possible resistance against the border control with the aim of changing it.
21.2.2020: “At rykke grænsen: Kinopoetiske perspektiver hos Warsan Shire (Home) og Athena Farrokhzad (Som om katastrofen ikke allerede var her og Europa)” – oplæg ved seminaret Litterære migrantstemmer på Aarhus Universitet
Mikkel N. Jørgensen 