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.
Traumatizing the photographic image.
Baum’s work unearths and explores the incidental poetry of UFO sightings, dog-eared paperbacks, and obsolete artifacts like card catalogs.
Examining the war of images in the current political landscape.
Originally published in
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.
Work that is just about the technical or conceptual, personal or political, is fine; it meets the world with what’s in fashion. But there’s something else bordering on magic, that brings an artwork home, makes it land and resonate. You can’t really teach that so much as conjure it.
Kara Walker
