BOMB 140 Summer 2017
Writing with the body as her touchstone, the novelist channels a woman warrior in The Book of Joan.
Inspired by Japanese “landscape theory,” a Parisian artist-filmmaker explains why he prefers to show us the world as his subjects see it.
A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.
The artistic directors of the Chicago Architecture Biennial discuss their new Menil Drawing Institute and the role of history in contemporary architecture.
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
John Giorno’s influence as a cultural impresario, philanthropist, activist, hero, and éminence grise stretches so widely and across so many generations that one can almost forget that he is primarily a poet.
My name is Donus Pane et Vinum.
I was born in 1250 in Barletta, Apulia.
My older brother Gualtarius Pane et Vinum
is the ancient great-grandfather of poet John Giorno
through his grandmother Maria Panevino, his father’s
I was a monk in retreat for many years,
and now a priest for forty years in the Basilica di
Santa Maria Maggiore.
Time for the serious sad blue
not the pale gold or the putrid
blur, bickering lowly and bent.
in the circulation of coin,
cauterized bliss ends in perpetual wound:
All the realm is yours.
The cop doesn’t want a prayer
He doesn’t want the bodies to stand over the dead animals that wash onto the shore
Contis explores the construction of myth, place, and masculine identity in the enduring imagery of the American West.
Carrington’s matter-of-fact presentation of the bizarre and the gruesome lends a distinctive black humor to her short stories, here collected in their entirety for the first time, including three that have never before been published.
From deep within Louis XIV’s billowing gray afro—more a cloud than a sun—the once lively eyes of Jean-Pierre Léaud gaze out vacantly. Over the course of Serra’s simultaneously tedious and fascinating film, Léaud’s Sun King drifts and snoozes through his remaining days in a state of almost catatonic nonchalance, occasionally stopping to doff his hat or eat a fig to the great applause of courtiers.
Mourning seeps in like water, but Clemmons skillfully draws on the humor that stems from the duality of conflicting cultures. Her prose is funny, fragile, and unflinchingly candid.
If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.
A modestly sized but nonetheless ambitious blend of catalog, monograph, and artist’s project, the book accompanies a touring exhibition of the same name which opened at the Contemporary Arts Center, New Orleans, in March 2016.
Partly inspired by the Greek surrealist Yorgos Makris’s 1944 manifesto, “Let’s Blow Up the Acropolis!,” Christos Chrissopoulos’s novella, The Parthenon Bomber, sets out to imagine just what might lead a young man to write himself into history by blowing up an ur-symbol of Western civilization.
Over the course of six years, filmmaker Laura Poitras had unparalleled access to WikiLeaks founder Julian Assange and his closest confidantes. What she captured became Risk, the follow-up to her Oscar-winning Edward Snowden exposé, Citizenfour (2014).
When I look at Jordan Kantor’s visual art, I think of poems.
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.