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Portfolio by Mano Penalva
Mano Penalva 1

Creating an aesthetic rupture in systems of exchange.

Tauba Auerbach and Sam Hillmer
7 Auerbach

Before the premiere of their multimedia collaboration LIGATURE, visual artist Auerbach and saxophonist Hillmer talk about connectivity, geometry, and the nature of mind.

Variation on 1.00056 by Paul Chan
Variation on 1.00056
Burying White Supremacy (A Future Language Sovereign)  by Demian DinéYazhi´ & Ginger Dunnill
Shezad Dawood’s Kalimpong by Sabine Russ
Kalimpong

When I arrive in the lobby of Kalimpong’s famed Himalayan Hotel, I move around clumsily and with caution. I’m wary of touching objects left behind by long-gone visitors, and the pop-up ghosts of soldiers, businessmen, and mountaineers startle me.

Sesshu Foster’s City of the Future by Ammiel Alcalay
City of the Future

I first encountered Sesshu Foster through his cotranslation of Juan Felipe Herrera’s masterpiece Akrilica and an anthology he coedited, Invocation L.A.: Urban Multicultural Poetry. It was 1990: I’d just returned from six years of intense political and cultural involvement outside the US. The Gulf War was right on the horizon, and in the hyper-stratified world of US poetry, where class and cosmos had taken backseats to an almost purely theoretical politics and poetics, I was in search of allies and kindred spirits. With Foster’s work, I felt I’d struck pay dirt.

Roque Larraquy’s Comemadre by J.W. McCormack
Comemadre Abedit

Let’s begin with death. “Let’s say that in the course of all human experience, death is pure conjecture: it is, as such, not an experience. And all that which is not an experience is useless to mankind.” The speaker here is Ledesma, one of a cadre of lovelorn, thoroughly chauvinistic doctors up to no good at a sanatorium just outside Buenos Aires.

Arturo Ruiz del Pozo’s Composiciones Nativas and Miguel Flores’s Primitivo by Renato Gómez
Records

Peru is an experiment—from colony to slavery to independence to diasporic migration; from military to revolutionary to criollo dictatorship; and then from corruption to neoliberalism to democracy to, finally, more corruption. (Can someone rewind the tape and get us back to side A please?) In the 1970s, out of this motley salad of historical tensions came musicians Arturo Ruiz del Pozo and Miguel Flores, who questioned the nature of Peru’s cultural production and identity with sound.

The Films of Emile de Antonio by Michael Blair
Point of Order

Huddled in front of a suite of bulletin boards filled with military charts, folding his fingers over papers as if they were slices of pizza, licking his lips, jowls quivering—this is Senator Joseph McCarthy as he appeared live on ABC in 1954 as part of the 36-day, 188-hour televised extravaganza that would come to be known as the Army-McCarthy Hearings. He’s berating a colonel, insinuating that “phony charts” have been submitted to the floor of the Senate. “The television audience,” he yells, “they are the jury in this case.”

My Favorite Regular by Devon Marinac
Page1 Copy

Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto. 

My Feeling’s Pyramidal by Julian Talamantez Brolaski

for a fee I guess / my sovereign entity / muckrake / frowning sun and yet it is a storyteller

Three Poems from Heck Land: The Resorted Text by Annelyse Gelman

These poems are excerpted from Annelyse Gelman’s Heck Land: The Resorted Text, a lyrical reworking of the definitive edition of William S. Burroughs’s seminal anti-novel Naked Lunch: The Restored Text. There are twenty-five in all—one for each chapter of Naked Lunch—each a scalpeled, reappropriated cut-up tape-mounted to projector transparency, then photographed recto and verso, along with dust, fingerprints, squashed bugs, and other process artifacts.

Stories from The Conservation of Mass by Ronaldo V. Wilson

Under a boat are a pod of Orcas, but before they are under a boat they are breaching some distance away from The White Boys in their small rowboat. 

Yesterday’s Papers, an excerpt from Poso Wells by Gabriela Alemán

He came in search of clues for an article about the disappearances that happened months before he arrived. 

Anna Moschovakis by Jennifer Kabat

The poet’s first novel, Eleanor, or, The Rejection of the Progress of Love, concerns a woman’s unnamed grief, as well as the meta-dialogue between the narrative’s author and the critic reading her manuscript.

Ottessa Moshfegh by Benjamin Nugent

The author discusses her forthcoming novel My Year of Rest and Relaxation, fiction as impetus for personal change, and the inhumanity of the creative class.

Simone Forti by Tashi Wada​
45 Forti Molimo Copy

On the release of Al Di Là, a collection of her sound works, Forti guides us through her decades-long practice of observation, intuition, and kinaesthetic awareness.

Shiv Kotecha’s The Switch by Corina Copp
The Switch Cmyk

It’s possible that like John the Divine—aka John of Patmos, author of the Book of Revelation—Shiv Kotecha has been plunged into boiling oil and suffered nothing from it, his audience converted into sweet lambs upon witnessing the miracle, and the prophet-poet cast forever unto the brightness of exile.

The Otolith Group’s O Horizon by Rahel Aima
4 Gathering F

In the molten golden hour, a row of Santhal tribeswomen dance in an open field. Arms interlocked, they bounce as one centipedal body to the beat of a dhol, cymbals, and a purring bamboo flute. The musicians wear flowers in their turbans, while the dancers don expressionless metallic masks that impart an otherworldly timbre to the pastoral scene.

Tori Kudo’s GALA-KEI: Galapagos Cellular Phone Punishment by Keith Connolly
Kudo 1 Cmyk

Ever the reductionist, three decades deep into a sprawling, marrowy discography, Japanese noise legend Tori Kudo has produced what he’s called a “life work” that, unsurprisingly, defies simple classification. 

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