The Aldrich Contemporary Art Museum 
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach

BOMB 98 Winter 2007

098 Winter 2007 1024X1024
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Interviews

Gronk by Marisela Norte

“In a sense, our recent history has been whitewashed; that temporality is in a lot of my work.”

Salvador Plascencia by Max Benavidez
Plascencia01 Body

“Sometimes you’re lucky and, on first dig, you hit the underground stream and the flow pours out and you get a novel out of it. But other times you’re just digging hole after hole and you’re not finding anything—just heaps of dry dirt.”

Virginia Fields by Constance Cortez
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“It’s not always something the basket maker can articulate; it’s inherent in why she makes a certain form, or uses a certain design. Design names have changed over the generations, but reflect elements of daily life.”

Margo Glantz by Álvaro Enrigue
Glantz01 Body

That dinner party was unforgettable: there was an abundance of very proper and elegant guests, seated in the living room with coffee and desserts, when suddenly the dogs burst in like a gale. 

Doña Julia Julieta Casimiro by Jesuita Natalia Pineda Casimiro
Casimiro01 Body
Jorge Hernandez by Josh Kun
Hernandez01 Body

“Our position has always been that we tell the stories of what happens in the real world so that people can have outlets in song and won’t act that way in real life.”

Cherríe Moraga by Adelina Anthony
Moraga01 Body

“The first level of risk is very private; most of the time I feel I’m writing against a silence, against a taboo, against what has not been written; and if it has been written, there’s no reason for me to write it.”

Gabriel Orozco by Carmen Boullosa
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Carmen Boullosa talks with Gabriel Orozco about how remnants of the natural world and the everyday are utterly re-imagined in his work.

Alberto Kalach by Jose Castillo
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Urban planning and the Edenic garden, from Cicero to Borges; and universal knowledge and the public library, from Boulee to Kalach’s own soaring Vasconcelos Library.

First Proof

Border Crossings by Luis Alfaro

My Grandmother from Mexico hates where we live.

Four Photographs by Juan Rulfo
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Rulfo is renowned for his fictional accounts of campesinos living in the wake of the Mexican Revolution, and although he published only a few books in his lifetime, he received Mexico’s National Prize for Literature in 1970 and Spain’s Premio Cervantes in 1985.

A Stabbing Pain by Naief Yehya

When my symptoms became worse, I decided to consult a doctor, only to discover that nothing more could be done for me. 

That Space, That Garden by Coral Bracho

I hear your voice: feel it folding into the mix,

Photographs on Somebody’s Lips by Angélica Tornero

On the corner, herd of statements:

Borges’s Dagger by Rolando Hinojosa-Smith

In Norman Thomas de Giovanni’s fine translation of Borges’s poem regarding a dagger resting in a desk drawer, a dagger, by the way, given Borges by his good friend and fellow Argentinian writer, Evaristo Carriego, Borges muses on the dagger’s lack of violent use. 

Four Poems by Natalia Toledo Paz

Red flowers, enormous and beautiful,
grew from my hands,

Three Poems by Juan Felipe Herrera

my father lights the kerosene lamp, his beard bitten, hands
wet from the river, where he kneels to pray in the mornings,

Three Poems by Mónica de la Torre​

In a library with at least eleven windows
less than eleven women who knew each other not
told each other secrets

A Book of Swoons by John Phillip Santos

1. Of the color of daylight in eternity

Artists On Artists

Paul Henry Ramirez by Roberto Juarez

For the 2007 Americas issue, Roberto Juarez underscores the distinctly Hispanic elements of the quirky kinky graphic art of Paul Henry Ramirez.

Minerva Cuevas by Trinie Dalton
Cuevas 07

Trinie Dalton on the celebration of individualism and the critique of the capitalist ideal that drives Minerva Cuevas’ video installation The Economy of the Imaginary: Pirates and Heroes.