BOMB 123/Spring 2013
Full House Head presents mind-numbingly blissful tracks, and uses repeated riffs to create a long, loud, monolithic album.
Poet Wendy Lotterman on the collected works of Clark Coolidge.
Adrienne Truscott’s performance . . . Too Freedom . . . is a study of with-ness, abstracting and re-materializing the physicality of work.
Joanna Malinowska reflects on sculptor Alina Szapocznikow’s MoMA retrospective and rapport with Ryszard Stanisławski.
Filmmaker Su Friedrich’s Gut Renovation takes on the geographic “war zone” that is Williamsburg.
Artist Michael Smith looks back on the self-assimilation and intersecting practices of Andy Kaufman and Stuart Sherman.
Raúl Ruiz’s film, Night Across the Street, is an ode to antiheroic characters, and feels more like a coded public message than a late-style work.
Listening to Scott Walker’s new album, Bish Bosch, is like a library, or Bugs Bunny, or hearing the drums of dissent, suggests Callahan.
’Pataphysics: A Useless Guide, a theological pseudoscience, defines hand gestures as providing access to the divine, and others as blasphemy.
One of Mexico’s most important conceptual artists, Ulises Carrión, is also one of the most overlooked. BOMB Senior Editor Mónica de la Torre is moved to child-speak over poems might seem gibberish, but are instead Cage-like koans.
David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Corey and Nagy explore the linguistic territories of the Postmodern Pastoral in The Arcadia Project.
Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.
Russ follows the instructions of The Cruise, a “floating audio film,” which directs its listeners to follow Maja Sweeney on a monologue through the mind.
Gordon Monahan’s book, Seeing Sound, is a trilingual, experimental text which presents his catalog of work dating from 1978 to 2011.
Sensations’ Fix rare ’70s space-rock album is now widely available for release. Along with including unreleased music for a never-made or imaginary film, these tracks put Sensations’ Fix in a category of a band that sounds like no other.
Faking It: Manipulated Photography before Photoshop is a catalogue for the exhibition Mia Fineman curated on early photographers’ efforts to revise their original photographs.
Editors Jed Rasule and Tim Conley compile more than 500 pages of poetry by avant-garde aesthetes and their literary experiments from 1910 to 1940.
Fischli and Weiss press an editorial eye on airports as destination, and not simply as a stopping point to a destination.
Infinite Jest, David Foster Wallace’s monumental tome is performed over a period of 24 hours in ten different locations in Berlin.
With his new album, All Hell, Daughn Gibson marries country western with electronic music in a way that is not gimmicky but compelling and honest.
In her novel, Bernard explores the life of Margaret Fuller, a journalist and writer working in the early- to mid-19th century, who was associated with transcendentalism and devoted herself to women’s rights.
In his recent work, Weizman continues to offer daring social and political commentary, questioning taken-for-granted structures and processes that perpetuate oppression and violence.
Zemborlain lovingly commemorates fellow Argentine poet Hector Viel Temperley, whose last works were recently translated into English by Sand Paper Press.
Beuchat, a Chilean postmodern dancer, performer, and choreographer based in New York since the ’60s, contributed to her field with innovative approaches to dance, video, photography, poetry, and sound, and their interactivity.
Mann responds with his own word play to the recorded series of oral poetry, Poetry Out Loud, from 1969 and 1977, recently re-released by De Stijl Records.
González Rodríguez’s book presents a new and chilling assessment of the social and political situation in Ciudad Juarez, accounting for the violence, murders, and disappearances in ways that refuse previous, easier-to-digest theories.
Zeitlin’s film takes place in a post-Katrina region of southern Louisiana called The Bathtub, in which six-year-old Hushpuppy and her father live a rich life full of wonderment and exclusion from the norms of American society.
Stuart’s dance piece BLESSED offers a mediation on what happens when the world around us falls apart, and the state of falling apart is the only thing to rely on.
