The Aldrich Contemporary Art Museum
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach
BOMB 131 Spring 2015
Kasten’s photographs capture the fleeting interplay of color, form, and light in the geometric objects she assembles. She spoke to Leslie Hewitt about the expansion of their shared medium.
Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.
In her new film, Songs From the North, Soon-Mi Yoo mines the land of memory, and the dormant conflicts and sorrows that bind the people of North and South Korea.
The characters in Zambra’s stories and novels can’t help being impostors. Alarcón finds out why, on the occasion of the Chilean author’s recently published short-story collection, My Documents.
Tom McCarthy could be considered a conceptual artist whose medium is fiction. His Satin Island is just out. Frederic Tuten, the British novelist’s counterpart on this side of the Atlantic, investigates the novel’s dizzyingly diverse sources.
Saxophonist and composer Matana Roberts combines music, storytelling, and political activism. On the occasion of the release of Chapter Three in her ongoing Coin Coin series, Christopher Stackhouse prompts her to talk about her background and vision.
I went on a few adventures as a prompt for writing this response to Samara Golden’s The Flat Side of the Knife.
Weaving fragmented histories into stylized atemporal surfaces, the work of Australian artist Christian Thompson gently conjures ghostly origins and seductively deepens viewer subjectivity.
Imagine you’re trying
to locate a lost
by the way its pings
He is Tom at the same time that he is too preposterous to be Tom.
I had waited, who knows how long—a few minutes, or a half an hour—sitting under the blare of industrial fluorescents, until the bus finally arrived out of a low fog.
The music we heard on our radios that morning was nothing new to our ears; it was what the soldiers played whenever they make a coup.
“I pray to God to rid me of God”
CHAPTER ONE: REQUIEM
“Pray without ceasing.”
—Thessalonians I 5:17
Ceiling turned to sky / time to timelessness
He holds a lantern at the end of her
driveway. I wouldn’t say lost so much as
condemned and disoriented.
Margaret Morton reports that on her first long drive through the mountains of Kyrgyzstan she was delighted when a skyline of minarets and domes appeared out of the silvery-blue, thin, stone-dry air, like a mirage.
César Aira’s first story collection to appear in the US follows the publication of ten short novels in nine years, all from New Directions.
I saw the stunning new film by the Safdie brothers, Heaven Knows What, at the New York Film Festival in 2014.
Inman is a realist of language’s tendency to become material: his poems exemplify the ways in which writing both preserves and interrupts language, and how it fluctuates in an ambivalent space between being a record of vanished speech and one of language’s living forms.
Seth Price’s Folklore U.S. documents a series of installations and exhibitions stemming from his dOCUMENTA (13) contribution, which included the Folklore U.S. SS12 fashion show (with collaborator Tim Hamilton), an exhibition at Hauptbahnhof, and a series of shop windows and garments for sale at SinnLeffers.
I remember Florentina Holzinger’s first costume. It was an oversize, orange-dyed dress, a muumuu really. She was sitting in a chair center stage. A minute or so earlier, a high fan kick had revealed her lack of underwear.
Renée Green’s collection, Other Planes of There, which spans over twenty years of the artist’s career, holds an alluring sense of return for me, offering a kind of fossil record of an evolving debate among progressive artists and cultural critics.