BOMB 128, Summer 2014

The cover of BOMB 128

John Ashbery, Charlemagne Palestine, Juan Uslé, Giuliana Bruno, Lola Arias, Roxane Gay, Tania Bruguera, Joe Sola, Katherine Bradford, Michael Coffey, Eleni Sikelianos, Azareen Van der Vliet Oloomi, Donald Breckenridge...

Brenda Coultas's The Tatters

by Ammiel Alcalay

Far from an exercise in nostalgia, a yearning for a previous world of materiality in the digital present, Coultas offers a profound meditation upon the implications of our current condition, upon a time “before the time caught in the mirror turns amber.”

John Ashbery

by Adam Fitzgerald

"Roussel wrote the kind of French that students were instructed to write at the Lycée: grammatically correct and totally limpid and cold. I don’t know why it appealed to me so much. I don’t think I’m a cold person myself. Maybe that’s why."

Ricardo Nicolayevsky

by Luis Felipe Fabre

It’s hard to pin down exactly what happens with Lost Portraits, an almost mythical series of Super 8 and 16mm shorts—filmed between 1982–85 in Mexico City and New York—depicting Nicolayevsky’s young friends and peers while he was a film student at NYU.

Tania Bruguera

by Paul O'Neill

"You could say that Arte Útil is anti-capitalist, because it is placed within another social ecology and is produced for another social class. It doesn’t belong in a society of heroes or saints; it is a practice for a society of the commons."

Juan Uslé

by Shirley Kaneda

"I begin listening and recognizing silence, meditating until I hear the blood circulating, and then start following the beats, making marks, one by one, line by line, emptying myself until the entire surface of the canvas is covered."

EVENING LIED

A crack in the clouds, through which
The blue of Spring, and buds all around.
The waves keep lapping towards us,
Soon the sailboats will be departing.
Today, a sailor told a tale of how he
Handles storms, his pictures seem so
Calmly arranged, friezes of pleasure.

Joe Sola

by Stuart Horodner

"So I had this idea to get an anesthesiologist to knock me out during an art fair, and I could just lie there, well dressed, as if I were out looking at art in this center of commerce, but having totally checked out."

Giuliana Bruno

by Sarah Oppenheimer

"Objects have their histories written into their surfaces. They particularly affect us because of that. Anything that occurs on the surface, including the lines in our faces, shows its historicity, shows the traces of life."

BRUISES

Thin skin, blood vessels close to the surface, mean
I bruise easily. “You’re too thin-skinned,” said my mother.
“You’re too sensitive,” said my father.
“Your skin grows thicker when you’re older,”
said my mother. “Past adolescence.”
I imagine myself an elderly armadillo.

Lola Arias

by Elianna Kan

"One is constantly working over what happened and constructing the future based on the past. So there’s no way of saying now we’re done with the past and it’s time to look for our future. No, there’s a direct continuity between these things."

Philip Glahn's Bertolt Brecht

by Richard Foreman

Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes.

Roxane Gay

by John Freeman

A fear of alienating myself from approval by revealing my truest self ... a fear of not being heard, being judged, being misunderstood ... These things make me tremble.

Christine and Margaret Wertheim

by Marianne Shaneen

Christine Wertheim’s recently released book mUtter-bAbel is gorgeously hyperbolic, a primordial pataphysics of text and drawings that explores relationships between babies, mothers, language, and “ugly archaic feelings and their troubling social effects.”

Mika Tajima

by Kareem Estefan

To kick with sabots, to willfully destroy, especially for political advantage. The Brooklyn-based artist and musician Mika Tajima is something of a saboteur.

BOMB 128
Summer 2014
The cover of BOMB 128