I believe that each of us is given one sentence at birth, and we spend the rest of our life trying to read that sentence and make sense of it.
—
Li Young Lee
Portfolio by Takashi Arai & Jacob Kirkegaard
- Peter Brook and Marie-Hélène Estienne’s Why? by Maria Litvan
- Céline Sciamma’s Portrait of a Lady on Fire by Mark Lukenbill
- Kirsten Grimstad and Susan Rennie’s The New Woman’s Survival Catalog: A Woman-made Book by Carmen Hermo
- Becoming Peter Ivers by Clinton Krute
- Glenn O’Brien’s Intelligence for Dummies by Jeremy Sigler
- Lana Lin’s The Cancer Journals Revisited by Amber Power
- Elaine Kahn’s Romance or The End by Rob Goyanes
Editor's Choice
- Bruce Pearson by Charles Bernstein
- Anthony Roth Costanzo by Justin Vivian Bond
- Jacolby Satterwhite by Sean Capone
- Cathy Park Hong by Ken Chen
- Christiane Jatahy by Jay Scheib
- Seth Price by Kim Gordon
- Daniel Kehlmann by Álvaro Enrigue
- The Investigators by Deb Olin Unferth
- Freefall by Amelia Gray
- Ice by Jenny Wu
- Shoes by Daniel Kehlmann
Takashi Arai, May 21, 2012. Annular Eclipse at 7:42 AM, Onahama, Fukushima No.1, 2012, daguerreotype, 10 × 7.5 inches. Images courtesy of the artist.
Takashi Arai, February 25, 2012. A pine tree survived tsunami, Rikuzentakada, 2012, daguerreotype, 6.5 × 4.25 inches.
Jacob Kirkegaard, Microscopies of death (cardiogenic shock), 2019, micro-photograph. Images courtesy of Fridmann Gallery, New York.
Jacob Kirkegaard, Dandora landfill in Nairobi, Kenya, photograph for Testimonium (audio-visual composition with recordings from the Dandora landfill, as well as recycling and wastewater facilities in Denmark and Latvia), 2019.
Takashi Arai, Neoto Falls, Tono, 2013, daguerreotype, 6.5 × 4.25 inches.
Takashi Arai, March 23, 2014. The sun at the apparent altitude of 570m in WNW, Hijiyama Park, Hiroshima, 2014, daguerreotype, 7.5 × 10 inches.
Jacob Kirkegaard, Dandora landfill in Nairobi, Kenya, still from Testimonium, 2019.
Jacob Kirkegaard, Microscopies of death (colorectal cancer), 2019, micro-photograph.
Takashi Arai, January 17, 2012. Kashima, Minamisoma, Fukushima, 2012, daguerreotype, 7.5 × 10 inches.
Takashi Arai is a visual artist and filmmaker based in Kawasaki and Tono, Japan. Major photography projects include Here and There—Tomorrow’s Islands, Exposed in a Hundred Suns, and Tomorrow’s History. Since 2017, Arai has worked as a researcher for interdisciplinary studies at the National Museum of Ethnology, Osaka, and the Institute for Research in Humanities, Kyoto University.
Jacob Kirkegaard is a sound artist and founding member of the sound art collective freq_out and the nonprofit TOPOS. This year, he released the record We like We & Jacob Kirkegaard: Time is Local on Sonic Pieces, Berlin.
Related
Photographs that capture the restlessness of place.
Stretching the limits of photography and representation.
A hybrid art aims to reveal interconnection.
Originally published in
BOMB 150,
Winter 2020
For our 150th issue, we have redesigned our flagship print magazine. This design reaffirms our mandate to deliver the artist’s voice, supporting the vital discourse that appears in BOMB with vivid imagery and innovative juxtapositions that encourage dialogue across the arts—from conversations between artists, writers, and performers to exciting literature. We present exchanges in their formative state: revelatory, fluid, and iconoclastic.
This issue features interviews with Bruce Pearson, Anthony Roth Costanzo, Jacolby Satterwhite, Cathy Park Hong, Christiane Jatahy, and Seth Price, as well as fiction from Amelia Gray, Deb Olin Unferth, and Jenny Wu, and poetry from Sawako Nakayasu, Andrei Monastyrski, and Bob Holman.
