BOMB 123/Spring 2013
Colette Lumière on the return of Victorian Punk, 40 years of “sleep art” and her artistic collaboration with Hurricane Sandy.
Genesis Breyer P-Orridge and Aaron Dilloway perform at one of the last Wierd Records parties at Home Sweet Home.
Colin Snapp and Daniel Turner discuss Jules Marquis, learning from their surroundings and the endless possibilities of collaboration.
A failed interview with the author of The Address Book, available now for the first time in English.
Adrien Tirtiaux pictures Dutch cuts to cultural funding as a slice through the Stroom Den Haag center for art and architecture.
Kristen Kosmas talks text-based performance, its formal implications, and the practice of dis- and reappearing. Her piece There There is a part of PS122’s COIL Festival, and runs through January 12.
Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.
Cars come to life in Detroit.
Margaux Williamson on her performance piece How to Act in Real Life, her film Teenager Hamlet, and being a character in Sheila Heti’s How Should A Person Be?
Barbara T. Smith takes us on a journey through her life—from 1950s housewife to 1970s radical feminist, and on to her current work at age 81.
Emily Hoffman reviews the latest installment of Sarah Michelson’s Devotion series.
The Guggenheim invites artists, philosophers, musicians, and curators to spend an evening contemplating the sound and silence of the city at stillspotting ( ) nyc: finale
Jesse Zaritt reviews Political Mother, a fast and furious spectacle choreographed and directed by Hofesh Shechter.
Curators Chelsea Haines and Eriola Pira, and artist Christopher K. Ho on what makes an art world real or imagined.
Artist Harrell Fletcher reflects on a recent project at Tate and demonstrates the value of participatory engagement and social practice.
Haleem “Stringz” Rasul talks about the constantly evolving form of street dancing in Detroit—from the jit to b-boy swag.
Artist Emily Roysdon on the many facets of “queer,” playing with language, activism through aesthetics, and making the audience happy.
This year’s Havana Biennial breaks away from pavilions, focusing instead on conversations between regions.
Parker Ito discusses AFK, IRL, and post-Web 2.0 arenas.
J. Morrison’s got a bunny head, a jockstrap, and twenty-four days of printed matter under his belt.
Performer and writer Barbagallo sits down with poet Szymaszek.
The writing is on the wall in Annie Baker’s reimagining of Uncle Vanya at the Soho Rep.
Cassie Peterson discusses deconstructions of form in Joseph Keckler’s I am an Opera.
Ryan Sheldon on the boundary-pushing work of sound artists Graham Lambkin and C. Spencer Yeh, appearing at the New Museum this week.
Richard J. Goldstein on Marina Abramović’s plans to open a new center for the study and practice of performance art.
Samuel Jablon sits down with legendary god of space, redefiner of public, and Bronx-born extraordinare, Vito Acconci.
Legacy Russell Twinterviews artist Devin Kenny about studio practice, studio work-outs, studio recordings, and how hip-hop helps to keep things in motion.
Jacob Krupnick’s new film, Girl Walk // All Day, has an audience both in the street and in the theater.
Jeffrey Grunthaner looks at the triad of art, life, and aesthetics via the Spencer Sweeney lens.
Legacy Russell Twinterviews performance artist Ann Hirsch about being scandalous, scandylicious, and the radical politics of the packaged female form in the sex-saturated era of reality television and social media.
