Michael Nardone is a writer, editor, and researcher working at the intersection of poetics, performance, and inscriptive practices across media. Co-editor of the Documents book series (Centre for Expanded Poetics and Anteism Books) and the critical journal Amodern, he is the author of two books of poetry: The Ritualites (2018) and Transaction Record (2014).
Nardone has contributed to a number of contemporary art institutions whose exhibitions have explored the aesthetics of language and the materiality of writing, including La machine qui enseignait des airs aux oiseaux (Musée d’art contemporain de Montréal, 2020), So So Silky Silky Silk (SBC Gallery, Montréal, 2018), Reading Matters (Printed Matter, New York, 2016), Future Concrete (Unit/Pitt, Vancouver, 2016), Concrete Scores (Open Space, Victoria, 2014), and The Dark Would (Whitechapel Gallery, London, 2013). His reviews of contemporary art have appeared in frieze, Camera Austria, BlackFlash, Canadian Art, and Mousse Magazine’s Vdrome.
His writings, dialogues, and editorial works are collected at http://soundobject.net.