The artist, who reproduced the city of Ghardaïa in couscous, examines architecture as a tool of control, repair as a form of resistance, and the imperative to invent new forms of care.
In anticipation of Van der Vliet Oloomi’s new novel, Savage Tongues, the authors consider language, hybridity, and Marguerite Duras.
This lecture was given at Wellesley College during the premiere of Lorraine O’Grady’s Miscegenated Family Album at the Davis Museum and Cultural Center.
An account of a life-long haunting that is part memoir, part ghost story, and part critical theory.
On writing into the other meanings of a hometown murder mystery.
A collaboration between B. Ingrid Olson and Kate Zambreno.
The writer on his short story collection, Hybrid Creatures, and using mathematical equations, HTML code, music symbols, and propositional logic to build narratives.
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.