BOMB 124/Summer 2013
Dan Cameron reflects on Brazilian artist Cildo Meireles’s sensually engaging installations, sculptures and drawings.
Ernesto Neto’s art, formal abstraction in the shape of sexy biomorphs, might seem an oxymoron. Curator Bill Arning and the Brazilian artist address the dichotomy of rigorous pleasure.
Artist George Moore talks to the grand maestro of Mexican art, Francisco Toledo, about his home state of Oaxaco, his mythical art and the legacy he’s built for his people.
Hank Hine on black and white photographs celebrating native plants in Oaxca, Mexico by Graciela Iturbide.
Saul Ostrow on the modern, social, utopian aims of Jesús Soto’s mixed-media pieces.
Carlos Brillembourg on the humor-filled, socially-focused mixed media installations created by José Antonio Hernandez-Diez.
Grady Turner on Jose Bedia’s primal, cave drawing-evoking paintings.
Juan Manuel Echaverría’s art spawned from his love of metaphor and literature. He studied the journals of the New World’s conquistadors and priests. Artist Calvin Reid discusses Colombia’s second apocalypse with the artist.
Critic David Pagel describes the work of Rubén Ortiz-Torres as both “phantasmagoric and realistic.” Torres creates images that are overwrought, cliched and fantastic, which also reflect the sociology of border crossing—from both sides of the border.
Adélia Prado’s poetry is filled with a reverence for the commonplace—the color yellow, a refrigerator, a rooster, a black umbrella—through which she expresses her divine faith in God. She speaks with her English translator, Ellen Doré Watson.
Claribel Alegría is one of the foremost poets of Central America. A supporter of the Sandinistas and mentor to the young intellectuals drawn to Managua during that period, she has published over 40 books of poetry, fiction and testimony.
Cuban born Guillermo Cabrera Infante is one of Latin America’s most respected and celebrated writers. His books, brimming with wit and word play, are also moving political analyses of life in Cuba.
Mayra Montero’s writing moves beyond the three-dimensional world into realms of ancestry, Santeria and voodoo. She and fellow Cuban writer-in-exile José Manuel Prieto discuss via e-mail the dual notions of geography and identity, mystery and discovery.
The Argentine tenor José Cura has over 30 roles in his repertory. Not only does his voice receive rave reviews, but Cura can act, too. Playwright Eduardo Machado speaks with the rising star.
Los Van Van have been making music you can dance to for over 30 years. If you think this means they’re easy, don’t. Colombian writer Silvana Paternostro, talks with the band’s leader Juan Formell.
Chanteuse Susana Baca dedicated the past two years to researching the contributions of black musicians to Peruvian music. Poet and novelist Jaime Manrique talks with the singer about coming face to face with the past.
This First Proof contains the story “Good Friends.” Translated from the Spanish by Giovanni Pontiero. For copyright reasons this content is available in print only.
This First Proof contains the story “Pendulum.” Translated from the Spanish by Harry Morales. For copyright reasons this content is available in print only.
This First Proof contains Pre-Columbian poetry, from Meso-America and the American Southwest, collected in Miguel Angel Asturias’s Poesia Precolombina and translated for BOMB by Daniel Flores y Ascencio and Dina Garduño.
This First Proof contains an excerpt from the novel “The Dance of the Hippos,” with an introduction by Lynne Tillman. Translated by Gustavo Pellón. For copyright reasons this content is available in print only.
This First Proof contains the story “The Fall of Persepolis.” Translated from the Spanish For copyright reasons this content is available in print only.
This First Proof contains the story “The High-Priced Assassination of Juan Domingo Perón.” Translated from the Spanish by Alfred Mac Adam. For copyright reasons this content is available in print only.
This First Proof contains the poems “Love Poem” and “Malediction.” Translated from the Spanish by David Cameron and Jaime Manrique. For copyright reasons this content is available in print only.
