BOMB 119/Spring 2012
Pablo Vargas Lugo’s bright, playful collages and installations explore dark subjects: from the entropic effects of time to traumatic events like the extinction of the dinosaurs and modern-day technological accidents.
Using principles of architecture, design and public sculpture, Pedro Reyes blends the realms of utopia and function. Reyes, whose Sanatorium is at the Guggenheim for the next two weekends, sat down with curator Tatiana Cuevas in winter of 2005.
Regina José Galindo’s intensely personal performances stem from her rage at the violence and corruption in Guatemala then and now. Novelist and former journalist Francisco Goldman talks with the 2005 Venice Biennale Golden Lion winner.
Novelist Daniel Sada’s Because It Seems To Be a Lie the Truth Is Never Known, with its infamous octosyllabic meter, stunned Spanish-speaking readers when it came out in 1999. The novelist has been rebuilding the internal logic of language ever since.
Poet, translator and editor José Luis Rivas is a rare figure whose poems are appreciated by Mexican writers of all generations. Mónica de la Torre queried the author on pleasure and reading, and the influence of his family and childhood in Veracruz.
Julieta Campos’s early novels were populated by indefinable characters, situated in an almost abstract space-time. Her latest work, The Force of Destiny, is a saga of family and society spanning five centuries.
Culiacán-based filmmaker Beto Gómez works against the grain of a Mexico City–dominated film industry to produce some of the most exciting new films in Mexico, including his most recent, Pink Punch.
Andy Palacio was known as the king of Punta Rock, the Belizian dance music that grew out of that region’s strong Garifuna culture. Trinidadian artist Christopher Cozier talked with Palacio about the Garifuna’s struggle for survival in the Caribbean.
Novelist Erasmo Guerra caught up with Monterrey alterna-rock band Plastilina Mosh—the duo of Alejandro Rosso and Jonas—at a makeshift beer and sangria stand after their performance in Brooklyn this summer.
For centuries, the urban infrastructure of the New World has been haunted by the presence of a rural culture immersed within the city, a sort of parallel slum city that José Castillo terms “urbanism of the informal.”
Catch Dr. Lakra at the Drawing Center through April 24 and revist BOMB 94 for Erik Parke on the tough, edgy, exciting evocations of Dr. Lakra’s tattoo artistry.
Frances Richard on how Laureana Toledo’s installations and photographs accompany and reinterpret pieces of music and literature.
Tamara Diaz Bringas on how Priscilla Monge’s provocative multimedia pieces and installations explore love, aggression and the complexities of power struggles and relationships.
John Phillip Santos on painter Rolando Briseño’s cosmic scale and his use of “color in motion.”
This First Proof contains the poem “A Season in Paradise,” translated by Monica de la Torre. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Because It Seems To Be A Lie The Truth Is Never Known, translated by Jen Hofer. For copyright reasons this content is available in print only.
This First Proof contains the poems “The Ass’s Hexagram,” “Don Juan, Defeated,” “The Heart of Saturday Night,” and “Ezra,” translated by Indran Amirthanayagam. For copyright reasons this content is available in print only.
This First Proof contains the story Interrogating Samantha, translated by Ezra Fitz. For copyright reasons this content is available in print only.
This First Proof contains Meteors, an excerpt from Hipotermia, translated by Tanya Huntington. For copyright reasons this content is available in print only.
This First Proof contains The Sands of the Wreck, an excerpt from La Forza de Destino, translated by Emily Woodman-Maynard. For copyright reasons this content is available in print only.
This First Proof contains the story The Secret Life of Insects, translated by Hector Luis Grada. For copyright reasons this content is available in print only.
