These two slim volumes, which are somehow stories, memoirs, meditations, diaries, and novels all in one, operate as much at the level of the sentence as that of the story.
An editor of creative translation journal Telephone and the EFA Project Space’s curator discuss hybrid translations of Brazilian concrete poet Augusto de Campos.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
More than a Peruvian musical genre, Chicha (from the Spanish word for a style of homemade fermented beverage) is a peculiar hybrid culture centered in Lima—the clash of jungle, Andean, and coastal idiosyncrasies resulting from waves of coastal emigration to the city that began in the ’50s.
“I’m constantly sending tap roots into all sorts of unsavory places. That’s an essential part of the mystery and discovery for me. I expect to be disturbed. I hope to be discomfited.”
Sure, the painter Shahzia Sikander, born and raised in Pakistan, manages to flip the script on the whole history of Indian miniatures, but to position her as an artist throwing off the oppressive yoke of male patriarchy, Islamic censorship, or the pervasive Western fantasy of South Asian culture as simply some kind of prohibitive version of Footloose does a disservice to her work.
Critic David Pagel describes the work of Rubén Ortiz-Torres as both “phantasmagoric and realistic.” Torres creates images that are overwrought, cliched and fantastic, which also reflect the sociology of border crossing—from both sides of the border.