BOMB 111/Spring 2010
ON NEWSSTANDS NOW
ON NEWSSTANDS NOW
The Frances Dittmer Series on Contemporary Art. An artist whose work sits most comfortably in the streets, Graciela Sacco is also a professor of theoretical issues in 20th-century Latin-American art.
The clever constructions of Los Carpinteros, a trio of Cuban artists who work collaboratively, have been showing up all over the place. In a serendipitous moment, writer Trinie Dalton sits down to talk with the itinerant Carpinteros.
An international artist influenced as much by Schwitters, Rimbaud and oracular chance as by the effusive culture of Brazil, Tunga’s art is both intellectually compelling and mysterious.
Colombian writer Laura Restrepo’s years as a journalist and political activist feed the fiction in her novels. Using imagination to fill in the blanks left by history, Restrepo constructs a mosaic of the actual and the inevitable.
Miguel León-Portilla coauthored the exquisitely translated anthology of Mesoamerican indigenous literature In the Language of Kings. Mexican scholar Jean Meyer talks with León-Portilla about the living and the dead. Translator: Asa Zatz.
Nancy Morejón is one of Cuba’s most preeminent poets, and the most internationally successful and widely translated woman writer of the post-revolutionary period. Her work speaks of African Cubans, of women, and of the people of her local Havana.
The late Chilean writer Roberto Bolaño (1953–2003) belonged to the most select group of Latin American novelists. His newest posthumous work, The Skating Rink is in bookstores now.
In 1996, the center for Cinematographic Education and Production launched an ambitious audiovisual project thoughout Bolivia with various national indigenous confederations.
With his film Piñero, self-taught director Leon Ichaso has found the ultimate marginal character in poet and playwright Miguel Piñero, whose brilliance and flair for self-destruction hover over downtown New York’s fabled history.
Cuban pianist, composer and arranger Bebo Valdés was at one time the orchestra leader of Havana’s Tropicana nightclub, accompanying visiting stars such as Nat King Cole and house legend Beny Moré.
Adriano Pedrosa on the vibrantly colorful, flora and fauna-inspired paintings of Beatriz Milhazes.
RoseLee Goldberg on how the street life of Brazil influences native artists such as the photographer Cabelo. This article is only available in print.
Euridice Arriata on Gustavo Artigas, a conceptual, socially aware artist who has staged events such as soccer game and a basketball game played simultaneously on the same court. This article is only available in print.
This First Proof contains the story “A Morning Made for Happiness.” For copyright reasons this content is available in print only.
This First Proof contains the story “Black Ball.” For copyright reasons this content is available in print only.
This First Proof contains the story “Final Spells of Vertigo in the Vestibule” translated by Harry Morales. For copyright reasons this content is available in print only.
This First Proof contains the short story “Hypertension,” translated by Beatriz Cortez. For copyright reasons this content is available in print only.
This First Proof contains the poem “Lunatic Tertulia” translated by Forrest Gander. For copyright reasons this content is available in print only.
This First Proof contains Chapter 6 from Meaning to Eat translated by Mark Schafer. For copyright reasons this content is available in print only.
This First Proof contains three poems, “Otra,” “I Learned To Bow” and “Seven,” translated by Esther Allen. This article is only available in print.
This First Proof contains the poems “Needless Immersion” and “Mission,” translated by Zoë Anglesy. For copyright reasons this content is available in print only.
This First Proof contains the poems “Prayer for August 21” and “The Cauldron,” translated by Mark Schafer. For copyright reasons this content is available in print only.
This First Proof contains the stories “Highway Without an Ox” and “Sewer Fauna,” translated by Mary Ann Newman. For copyright reasons this content is available in print only.