BOMB 123/Spring 2013
Opposites attract—one looks to the past; the other looks to the future. One paints; the other everything but. A dialog of overlapping engagements beween Dawson and Genesis BREYER P-ORRIDGE.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
Whitney’s answer to painting’s “hard times,” was composing with color as a jazz musician plays with themes and variations. Whitney’s show Other Colors I Forget opens at Team Gallery on April 11.
Enrique Vila-Matas’s characters include James Joyce, F. Scott Fitzgerald, Ernest Hemingway, Paul Auster, and even Enrique Vila-Matas. The Catalan author talks with Meruane about his distinct method of interlacing reading, writing, fact, and fiction.
Read the original Spanish language text of this conversation.
Rachel Kushner’s latest novel, The Flamethrowers, is out now. Kunzru focuses on the novel’s relationship to the ‘70s art world and Italian politics during the time of the Red Brigades.
In the early ‘70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.
Read the original Spanish language text of this conversation.
Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”
Aki Onda’s body of work is an investigation of sound’s place in the tactility and visuality of a three-dimensional world. Watch an excerpt from a performance by Onda and filmmaker Paul Clipson.
Raphael Rubinstein traces Christopher Deeton’s affinity for cycling and German electronica to the Gothic symmetry of his recent paintings.
Halsey Rodman’s upcoming installation inverts its shape once it changes venues. This act of transformation emphasizes the space and identity of its viewership, destabilizing the notion of perception.
This First Proof contains the story “Clandestine Happiness” by Clarice Lispector, translated from Portuguese by Rachel Klein.
This First Proof contains the story “Details Inside” by T Cooper.
This First Proof contains photography by Seton Smith.
This First Proof contains an excerpt from the novel Tejas by Carmen Boullosa.
This First Proof contains three poems by Elena Alexander.
This First Proof contains two poems by Tom Healy.
This First Proof contains an excerpt from the poem Drawing Water by Eva Heisler.
This First Proof contains a poem from Universe by Diana Hamilton.
Adrienne Truscott’s performance . . . Too Freedom . . . is a study of with-ness, abstracting and re-materializing the physicality of work.
Poet Wendy Lotterman on the collected works of Clark Coolidge.
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.
