BOMB 119/Spring 2012
Caro believes his most important work to be Homage to Manuel Quintín Lame, a performance in which he retrieves the indigenous hero from oblivion. Caro and Rodríguez delve into Warhol, astronomy, and national politicking to find out why.
Dulce Gómez makes assemblages and installations that synthesize calculation and chance. Castillo Zapata queries the artist on systems, psychoanalysis, and Benjamin’s essay on Baudelaire.
The intention of the Popular Prints created by Colombian artist Alvaro Barrios is to reach—through an artistic act—the largest number of people possible. Print this one out, mail it to us, and we’ll send it back signed and numbered by the artist.
Torres, one of Venezuela’s most respected authors and essayists, began her professional life as a psychoanalyst. With fellow novelist Boullosa, she discusses the roles of memory and listening, tools of both trades, in her writing.
En Español La distinguida autora venezolana se formó profesionalmente como psicoanalista. Con la novelista Carmen Boullosa, habla sobre las herramientas principales tanto del psicoanálisis como del quehacer narrativo: la memoria y el saber escuchar.
En Español El autor colombiano de Los ejércitos asevera que “esa locura, ese filo de la navaja donde transcurre la realidad y la irrealidad, están aquí, respiran a cada vuelta de esquina, y son los que impulsan mi escritura.”
Evelio Rosero, the Colombian author of The Armies, says of his art: “This madness, this knife’s edge where reality and unreality take place, are here; they breathe around every street corner, and they are what propel my writing.”
The novelist’s latest, The Informers, tells untold tales. One is the story of Colombia’s German and Jewish émigrés on the eve of and aftermath of World War II. Paternostro and Vásquez hash out this and other dark chapters in Colombia’s history.
En Español Lea “Miedo”, un microcuento de Evelio Rosero.
Téllez casts and collaborates with the mentally disabled to “cure the sane of their lucidity.” Reyes and Téllez muse over the philosophical underpinnings of theater and film—from Aristotle to Godard.
En Español El artista venezolano radicado en Nueva York colabora con pacientes mentales “para curar a los cuerdos de su lucidez”.
The Colombian-born cumbia has become a blank canvas for a new international genre. Musicologist and leader of the band Frente Cumbiero, Mario Galeano Toro, explains cumbia’s sonic boom. LISTEN to one of his mixes.
The mastermind behind Medellín’s urban transformation is Sergio Fajardo, a mathematician, professor-turned-mayor, and a Colombian presidential hopeful.
En Español El cerebro detrás de la transformación urbana de Medellín es matemático, profesor, ex-alcalde, y, actualmente, candidato a la presidencia de Colombia. Con Mazzanti, arquitecto, esboza la metodología de la esperanza.
Venezuelan-born, Brooklyn-based Esperanza Mayobre’s work deals with “the trauma of displacement.”
Roughly translated as “a place to doubt,” Lugar a Dudas serves as an artist’s space and cultural center in Cali, Colombia.
The collective Nascimento/Lovera radically edits popular films for public consumption as a statement about the globalization of the narrative structure.
Artist Cruz-Diez has lived in Caracas, Barcelona, and Paris. His interview is excerpted from Brodsky’s extensive oral histories with the seminal experimenter whose work developed a participatory phenomenology of color.
This BOMB Specific features The Sky Over Caracas: What I See Upon Leaving My House, a collection of photographs by Antonieta Sosa. This content is available in print only.
An advertisement for BOMB’s online archive of interviews featuring an image of the spread for an interview with writer and poet Roberto Bolaño.
This First Proof contains an excerpt from Carama by Igor Barreto, translated by Brandon Holmquest. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Distant Cousin by Federico Vegas, translated by Lisa Dillman. For copyright reasons this content is available in print only.
This First Proof contains four poems by Luis Enrique Belmonte. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Forgotten We Shall Be by Héctor Abad Faciolince, translated by Anne McLean. For copyright reasons this content is available in print only.
This First Proof contains a portfolio of three sketchbook pages of José Antonio Suárez Londoño. For copyright reasons this content is available in print only.
This First Proof contains the story “My Grandfather’s Disintegration” by Antonio Ungar, translated by Katherine Silver. For copyright reasons this content is available in print only.
Posing as a real estate photographer, Venezuelan artist Luis Molina-Pantin took photographs of gaudy buildings built with drug money. For copyright reasons this content is available in print only.
This First Proof contains the story “Theta” by Carolina Lozada, translated by Katherine Silver. For copyright reasons this content is available in print only.
This First Proof contains two poems by Yolanda Pantin. For copyright reasons this content is available in print only.
