BOMB 129 Fall 2014
Prior to Burn the Diaries, her exhibition at the ICA Philadelphia this fall, Davey exchanged thoughts with Paris-based writer Lebovici on autobiographical writing, the formal potential of aerograms, and scatological confessionalism.
For Hoff, distribution networks serve as creative agents. Musician Eli Keszler queries the artist and publisher of Primary Information on paintings based on viruses and syndromes, and also on his pop-leaning sound works.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.
In March of last year Tyondai Braxton debuted his composition HIVE in the rotunda of the Guggenheim. It was a considered and ambitious first go at a piece that was still finding its form.
For Lerner, Reines’s poems are “sites for irrational and transpersonal powers.” Reines, in turn, thinks of Lerner’s new novel, 10:04, as “Time Regained retold as The Odyssey in a best of all possible worlds.” Their banter touches on Whitman, poetic address, and “obliviating.”
Cities haunted by ghosts, ghosts that are a metaphor for language in their haunting doubling and mistranslations, language that’s full of holes, while the holes themselves are suggestive of abandoned places and writing that fails to describe anything accurately enough—this is Valeria Luiselli’s terrain.
In one painting, I am picked up and drawn into a wild weather event, a storm of color, wind, and light.
It was a relationship that, from the outset, was not fated to last. She knew that.
I’m imagining a gouache drawing with an open-bottom black triangle starting about a quarter of the way down a page torn from a trade paperback.
In the few months before his story was to appear, he was treated differently at work and at his usual hangouts.
“Accuracy, spontaneity, and mystery” are among the qualities Elizabeth Bishop said made for an outstanding experience with the best poems.
The patron saint against temptation sits straight-backed in an Italian convent as if mortised into her chair, and she is dead, dead, dead.
Somewhere on the crossroads of history they stood: the pillar of Salt and the pillar of Fire.
You may have heard the sad news that John Chamberlain passed away last Wednesday morning.
It rebegins quietly, with a line
from Alain Robbe-Grillet
Late one night in the summer of 2002 or 2003, I was in Berlin, having just returned after six months in Paris. Friends told me of a woman I just had to meet, a bartender at Barbie Deinhoff’s.
Translation as visitation. Translating silence, or the inability to translate silence. A word that does not want to be translated. Translation as story. Attempting to translate grief. Translation as unanswered letter to the dead.
This is the type of record that will slap cultural essentialists in the face.
Some time in late June, in the middle of the World Cup, a friend asked me an apparently simple question: “If you could psychoanalyze one football player, who would it be?”
Imagine an alternate universe—a dimension not only of sight and sound but also of mind: a Q-tip stuck beneath the tongue of the Wonder Wart-Hog provides necessary evidence.
Reanimating the 20th century … is the second in a series of Sourcebooks published by Independent Curators International.
In ECODEVIANCE, a ritualistic poetry book-cum-grimoire and guide to various livings and dyings, CAConrad’s mic is comprised of “the bones of the earth”: crystals. Voices whisper, ring, and shout through(out) this book.