Bitsy Knox

Bitsy Knox reviews Fabrice Schneider’s recent solo exhibition at Établissement d’en Face, a long-standing artist-run space in Brussels. Titled “Mars,” the exhibition presents a psychodrama of interiors; the exhibition space is not a set, but a player alongside the objects that inhabit it. Together, they invite viewers to meditate on the passage of time through gestures of analysis, control, measurement, and mourning. Motifs of public and private, family and work life repeat across the exhibition, each instance revealing further indexical traces of affect. Knox writes: “Schneider’s greatest strength lies in his ability to draw out the dramatic potential of negative space, revealing nested layers of affect between objects and time, time and its keeper, the keeper and its keeper. “ Read the full text at momus.ca (link in bio). @bitsyknox #fabriceschneider @etablissement_den_face Images: 1-2. Fabrice Schneider, “Table Jardinière/Ivory Crib,” 2026. 3. Fabrice Schneider, “Untitled (Exercise),” 2026. 4. Fabrice Schneider, “Untitled (Porte Bouteille),” 2026. 5. Fabrice Schneider, “Untitled (Slideshow),” 2026. All photos by Fabrice Schneider.

How do we get to know each other without words? In this 66th episode of Something Like Attunement, we consider interspecies communication, pre-linguistic bonding, and what happens when it all reverses. - Thank you as always to @roger30000 for SL's jingle. - Thank you to @purpgalore and Robin for their invaluable contributions to this show. - I made these drawings of Bridget for my dad's birthday a few years back. This episode is dedicated to the memory of my sweetest, smelliest, scruffiest friend and more-than-human sister. - Listening link in bio!

🎙️ The School of Feral Grounds is releasing its sixth episode 🗣️ 𝗥𝗲𝗽𝗼𝗿𝘁𝗶𝗻𝗴 𝗳𝗿𝗼𝗺 𝘁𝗵𝗲 𝗳𝗿𝗼𝗻𝘁 , diving into questions of who gets to access, own, safeguard, or extract value from land. Even underused, degraded, or “temporary” sites are no longer accessible to the public, as commons disappear, and land is treated as a speculative asset rather than a shared resource. Sofija Stefanović, a researcher and organiser based between the UK and Serbia is in conversation with @bitsyknox . Sofija is a scholar, organiser, dancer and teacher whose work is grounded in feminist science and environmental justice organising. Together, they speak about land stewardship and property regimes under extractivism, and about the political importance of bodily presence in space. 🎧 Listen to the episode streaming TODAY 23rd of February 5PM @cashmere_radio 6:30 PM @radioaparat Sofija Stefanović @probisvetica Bitsy Knox @bitsyknox Danica @trala_lala_lila_lala — The School of Feral Grounds positions cultural practices within the realities of a world where capital-driven economies reshape the planet. Acting as a forum for exchange, the school interlinks urban ecologies and cultural fields, exploring how nature reclaims the cracks of neoliberal cities. Originally produced for Future DiverCities, the series aims to empower eco-social engagement with our often-neglected cityscapes. Curated by Danica Sretenović from Krater Collective Hosted and produced by Bitsy Knox from Cashmere Radio #SchoolOfFeralGrounds #FutureDiverCities #RightsofNature#EcoSocial #UrbanEcology

Closing out the year with Bitsy for the final Resistenza episode of 2025 in @kiosk.radio ’s monthly Outsider series tomorrow! 🥂 ✨ Tune in at 9 AM (GMT+1). Bitsy Knox is a transdisciplinary artist, editor, and radio host based in Berlin, Germany. She grew up on unceded and ancestral xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) land, also known as Vancouver, Canada. In 2025, she and her longtime collaborator Roger 3000 released their second full-length LP, the ears of animals (Moli Del Tro).  📸 By @ghislain_amar @bitsyknox @roger30000 @molideltro

To wait, to pine, to fantasize, to long for the real, to long to go back to sleep, and to return to soft, secret comforts that reside in a place that only you know. - I read from Mary Gaitskill's 2011 short story, "The Other Place", published in the February 6, 2011 New Yorker. -I mention Neige Sinno's "Triste Tigre" (eng translation: "Sad Tiger"), 2023, Éditions P.O.L. - As ever jingle by my dear friend and collaborator, @roger30000 🔗 LINK IN BIO!

‘the ears of animals’ by bitsy knox & roger 3000 is out now! Available on vinyl and digital download on Bandcamp and to stream on all streaming platforms. 🔗 in bio... We worked on this record over the last few years. It began with an ill-fated correspondence and dawn chorus field recordings. It was transformed by nascent heartbreak, learning how to be alone, and how to be less afraid. It comes out of many studio deep-dives, and the kinds of conversations and jokes shared between two friends who have known each other through many different chapters of life. We recorded and produced ‘the ears of animals’ in Julien’s home studio in Forest, Brussels, but its sounds have traveled from coastal British Columbia via the streets of Berlin and Brussels. Recorded in Forest, Belgium Lyrics by @bitsyknox Composed and produced by @roger30000 and @bitsyknox Mastered and lacquer cut by @fredericalstadt @molideltro 2025 Layout by @lundiloiseau Distribution @kuronekomedia

Bitsy Knox’s new series of works draws from an interest in myth-making and imprints of experience, taking inspiration from the iconography of Veronica, the Christian patron saint of laundry and photography. In the extra-biblical medieval telling, Saint Veronica offers Jesus a cloth to wipe his face on the way to his crucifixion. Once returned, she finds that residual blood, sweat, tears and dirt have been miraculously transformed into an image of Jesus’ face (the ‘Vera Icon’). ‌ The title of the work is taken from the play ‘Endgame’ by playwright Samuel Beckett, who frequently employed the Veil of Saint Veronica as a dramaturgical device to disrupt the representation of authority figures, and to symbolically allude to the unstable nature of memory. ‌ Last slide: Knox performing the title 𝘝𝘦𝘳𝘰𝘯𝘪𝘤𝘢𝘴: ”. . . 𝘈𝘭𝘭 𝘵𝘩𝘰𝘴𝘦 𝘐 𝘮𝘪𝘨𝘩𝘵 𝘩𝘢𝘷𝘦 𝘩𝘦𝘭𝘱𝘦𝘥 (𝘗𝘢𝘶𝘴𝘦.) 𝘏𝘦𝘭𝘱𝘦𝘥! (𝘗𝘢𝘶𝘴𝘦.) 𝘚𝘢𝘷𝘦𝘥. (𝘗𝘢𝘶𝘴𝘦.) 𝘚𝘢𝘷𝘦𝘥! (𝘗𝘢𝘶𝘴𝘦.) 𝘛𝘩𝘦 𝘱𝘭𝘢𝘤𝘦 𝘸𝘢𝘴 𝘤𝘳𝘢𝘸𝘭𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦𝘮 (𝘗𝘢𝘶𝘴𝘦. 𝘝𝘪𝘰𝘭𝘦𝘯𝘵𝘭𝘺.) 𝘜𝘴𝘦 𝘺𝘰𝘶𝘳 𝘩𝘦𝘢𝘥, 𝘤𝘢𝘯’𝘵 𝘺𝘰𝘶, 𝘶𝘴𝘦 𝘺𝘰𝘶𝘳 𝘩𝘦𝘢𝘥, 𝘺𝘰𝘶’𝘳𝘦 𝘰𝘯 𝘦𝘢𝘳𝘵𝘩, 𝘵𝘩𝘦𝘳𝘦’𝘴 𝘯𝘰 𝘤𝘶𝘳𝘦 𝘧𝘰𝘳 𝘵𝘩𝘢𝘵! (𝘗𝘢𝘶𝘴𝘦.) 𝘎𝘦𝘵 𝘰𝘶𝘵 𝘰𝘧 𝘩𝘦𝘳𝘦 𝘢𝘯𝘥 𝘭𝘰𝘷𝘦 𝘰𝘯𝘦 𝘢𝘯𝘰𝘵𝘩𝘦𝘳! 𝘓𝘪𝘤𝘬 𝘺𝘰𝘶𝘳 𝘯𝘦𝘪𝘨𝘩𝘣𝘰𝘳 𝘢𝘴 𝘺𝘰𝘶𝘳𝘴𝘦𝘭𝘧! (𝘗𝘢𝘶𝘴𝘦. 𝘊𝘢𝘭𝘮𝘦𝘳.) . . . ” l-lll (2025)

We are so excited to share a first taste of "the ears of animals", our second LP, and first with @molideltro . Available for pre-order now via @molideltro , @tropicallrecords , Bandcamp, and on all of your most cherished streaming platforms. Catch us live in Brussels on November 14th, we're performing at @lesateliersclaus alongside the mad laboratory of anti-matter + frontpageleslie. Link in Bio!

How are you? How are you really? Two hours in pursuit of an end to euphemism. Link in Bio, baby. - Thank you as always to the one and only @roger30000 for Something Like's timeless jingle. - The music under my voice on this episode is Bruton Music, Reflections, 1978. - I read from Pier Paolo Pasolini's Poeta delle Ceneri (excerpt), 1966-67 - Free Palestine and all political prisoners. Tracklist: Mary Ann Daly, New Life, Joyful Noise II, 1975 (W.O.W.) SUMAC & Moor Mother, Scene 1, The Film, 2025 (Thrill Jockey Records) Ingrid Laubrock, Koan 13 (Fay Victor and Mariel Roberts), Purposing the Air, April 2025 (Pyroclastic Records) Walter Verdin, Nobody Moved, PingPong, 2025, (Cortizona) Diamanda Galas - My World is Empty Without You, Malediction and Prayer, 1998 (Asphodel/Mute) Elodie Lauten - Duel, The Death of Don Juan (in Two Acts), 2008 (Unseen Worlds) Anne Gillis - Untitled #4, Angebiguë, 1983 (Self-released) Jill Kroesen - I’m Sorry I’m Such a Weenie, Stop Vicious Cycles, 1982 (Lovely Music) Adult Fantasies - Pardon Mon Mari, The No-Sleep Feeling, 1994 (Sub Rosa) Beverly Glenn Copeland - Untitled (Make the Answer Yes), Beverly Copeland, 1970 Jeanne Lee & Andrew Cyrille - In These Last Days, Nuba, 1979 (Black Saint) Botany, Merciless Mirror, I’ve Been (December 2024) Chhun Vanna, Lone River, Wounds of Love - Khmer Oldies Volume 2, 2025 (Death is not the End) Organic Music Theatre, w/ Don Cherry’s New Researches feat. Nana Vasconcelos - Butterfly Friend, live at Festival de Jazz Chateauvallon, 1972 (Blank Forms) Ross Gay, Catalogue of Unabashed Gratitude, Dilate Your Heart, 2021 (Jagjaguwar) Jefre Cantu-Ledesma - The Milky Sea, Gift Songs 2025 (Mexican Summer) The Pixies - Hey, Doolittle 25: B-Sides, Peel Sessions and Demos, 2014 (4AD)

Pina issue #1: Berlin presentation Asad Raza, ‘Array’ 📆 Wednesday 9 April, 7pm 📍 CCA, Berlin Breitscheidplatz 10789 Berlin Join us on April 9th, 7pm @ccaberlin for a lecture-performance by artist Asad Raza @asaaddo , followed by a conversation between Raza, Pina Deputy Editor Bitsy Knox @bitsyknox and CCA Director Fabian Schöneich @fabianschoeneich talking about ‘Array’, Raza’s project for @pina_magazine and the particularities of making an exhibition in 60 pages. Asad Raza creates participatory, multisensory works that challenge disciplinary boundaries and emphasise dialogue. His site-responsive practice includes inviting Mediterranean winds into a Manifesta 15 venue and channelling Frankfurt’s river through Portikus’ gallery. For Pina, Raza continues this exploration with ‘Array’, engaging with the materiality of an exhibition space made of paper, and the light that bounces off to the reader’s eye. ‘Array’ traces the journeys of these elements in a minimalist yet hallucinatory meditation on time and transformation, activated with each turn of the page. Raza questions the exhibition as a site beyond representation, prioritising encounters and their shapeshifting potential. Accompanying Raza’s exhibition in Pina is a conversation with the Physicist and Distinguished Professor of Feminist Studies and Philosophy at the University of California, Santa Cruz, Karen Barad #karenbarad and ‘The Tree Daughter’, a newly-commissioned work of short fiction by Akil Kumarasamy @akilluh Post designed by @studiopandan #ccaberlin #pinamagazine #asadraza #berlinart #berlincontemporaryart #berlinartevents

Back from the edge, teetering in the space between beginnings and endings, I find myself kneeling with my chin on the ground, staring at the hem... Link in Bio. Tracklist: Marshall Allen, Prologue, New Dawn, 2025 (Week-End Records, Cologne) Broadcast, Microtonics 06, Microtonics, 2022 Diane di Prima, Revolutionary Letter No 13 Charlemagne Palestine, STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr..., DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!, 2023 (Blank Forms) Odetta, Masters of War, Odetta Sings Dylan, 1965 Jaubi, Raga Bairaga Todi, A Sound Heart, 2024 (Riaz Records) Everything But the Girl, Driving, Acoustic, 1992 (originally The Language of Life, 1990) Yndi, Memoria, Memoria, 2024 (Grand Musique Management) NYX, Everything I Wanted for You, Nyx, 2025 (State 51, London) Susan Alcorn, José Lencastre, Hernâni Faustino, The Poet, Manifesto, 2023 Joe Henderson, Foresight & Afterthought “An Impromptu Suite Written in Three Movments”, Power to the People, 1969 (Milestone Records, recorded at Plaza Sound Studios, NYC, May 1969) Bi-Ki ?, Tenues (Autoroute), Quelque Chose Au Milieu, 2016 (circum-disc, Lille) Sanchiko Kanenobu - Aoi Sakana (Blue Fish), Misora 1972 (originally released on URC in Japan, reissued by Light in the Attic in 2019) Keanu Nelson, Kapi Tinna, Wilurarrakutu, 2024 (Altered States, then Mississippi Records) Marianna Maruyama & Hessel Veldman - Not Knowing, Salt, 2025 (Stroom) Laura Agnusdei, Solvay Beach, Flowers are Blooming in Antarctica, 2025 (Maple Death Records, Bologna) Steve Lacy, Revolutionary Suicide, Live at Environ 1976 (reissued by Jazz Magnet Records), 2000 Kathy Smith, If I Could Touch You, Some Songs I’ve Saved, 1970 Robbie Robertson, The Sound Is Fading, Contact from the Underworld of Redboy, 1998 George Benson, Here Comes the Sun, The Other Side of Abbey Road, 1969 (A&M Records)

Hotties on a break from the hit parade. New album coming soon! Photos : @maju_bois