Here Comes Kitty: A Comic Opera by Richard Kraft

BOMB 130 Winter 2015
130 Cover

New York Live Arts presents

Marjani Forte
Nov 15-19


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Richard Kraft, collages excerpted from Here Comes Kitty: A Comic Opera. Courtesy the artist and Siglio.

View as a hi-res PDF.

When Richard Kraft asked me to collaborate on Here Comes Kitty: A Comic Opera(forthcoming from Siglio next March), I hadn’t seen any of the collages that would make up the bulk of the book; he simply told me about them over the phone. I jotted: “menagerie,” “alchemy,” and “putting heads on bodies.” Then, in the spirit of Cage and Cunningham, we worked together apart. Thank goodness, too, because if I’d seen these wild, bewildering, hilarious images beforehand I might have been stunned into silence. Kraft takes Kapitan Kloss, a pre-perestroika comic book about a Polish spy who infiltrates the Nazis, and bombs the plot with elephants on bicycles, white rabbits, Hindu goddesses, bugs, birds, a smattering of porn, and other interruptions. Yet amid the cacophony of collage, there is also, here, a baseline of story marching on: again and again the soldiers, the trucks. Isn’t it a natural impulse to want to follow that line? Soon we feel that even Kraft’s interruptions are gathering narrative force: again and again that rabbit, the goddesses’ hands. Yet as one page compels us to the next, each simultaneously becomes a universe of its own. Subverting becomes telling, bombs become themes, and narrative turns itself sideways, upside-down. As Copernicus said on his deathbed: “It moves!” Here’s a little peek.

—Danielle Dutton

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Richard Kraft, collage from Here Comes Kitty: A Comic Opera. Courtesy the artist and Siglio.

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Danielle Dutton & Richard Kraft
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Originally published in

BOMB 130, Winter 2015

Featuring interviews with Adam Broomberg and Oliver Chanarin, Theaster Gates, Martin Wilner, Paola Prestini, A.G. Porta, Pierre Guyotat, Paweł Althamer, and Eugéne Green.

Read the issue
130 Cover