Marina Vishmidt is a London-based writer and editor occupied mainly with questions around art, labour, materiality, feminism and value. Mainly, she is interested in the relationship between practice and its conditions from the standpoint of negation, and what forms of subjectivity are produced there. She is the author of Speculation as a Mode of Production (Brill, forthcoming) and A-Autonomy (with Kerstin Stakemeier) (Textem and Mute, 2016). She also writes regularly with Anthony Iles and with Melanie Gilligan. She contributes to artist monographs, journals such as Mute, Afterall, Texte zur Kunst, Springerin and the South Atlantic Quarterly, as well as edited collections such as The Routledge Companion to Art and Politics (2014), the Handbook of Frankfurt School Critical Theory (SAGE, 2016) and the Bloomsbury Companion to Marx (2017). Editorial projects include Anguish Language: Writing and Crisis (Archive Books, 2015). Uncorporate Identity (Lars Müller, 2010), and Media Mutandis: Art, Technologies and Politics(NODE. London, 2006). She is part of the Theory faculty at the Dutch Art Institute, lectures in the history and criticism of artists’ moving image at the University of Brighton, does PhD supervision at the Ruskin School of Art, University of Oxford, and is a visiting lecturer at the Sandberg Institute. She has held posts including a current fellowship at the Künstlerhaus Büchsenhausen, the DAAD PhD Research Grant at the University of Hamburg, the Montehermoso Research Grant, critic-in-residence at the FRAC Lorraine and a fellowship at the Jan van Eyck Academie. She holds an MA from the Centre for Research in Modern European Philosophy and a PhD from the School of Business and Management at Queen Mary, University of London.