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Issue 103 Spring 2008
THE BOMB BLAST
Pablo Vargas Lugo’s bright, playful collages and installations explore dark subjects: from the entropic effects of time to traumatic events like the extinction of the dinosaurs and modern-day technological accidents.
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Using principles of architecture, design and public sculpture, Pedro Reyes blends the realms of utopia and function in projects that truly do strive to improve the world. Rufino Tamayo museum curator Tatiana Cuevas sat down with Reyes in winter of 2005.
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Regina José Galindo’s intensely personal performances stem from her rage at the violence and corruption in Guatemala then and now. Novelist and former journalist Francisco Goldman talks with the 2005 Venice Biennale Golden Lion winner.
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Poet, translator and editor José Luis Rivas is a rare figure whose poems are appreciated by Mexican writers of all generations. Mónica de la Torre queried the author on pleasure and reading, and the influence of his family and childhood in Veracruz.
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Julieta Campos’s early novels were populated by indefinable characters, situated in an almost abstract space-time. Her latest work, The Force of Destiny, is a saga of family and society spanning five centuries.
>>>Novelist Daniel Sada’s Because It Seems To Be a Lie the Truth Is Never Known, with its infamous octosyllabic meter, stunned Spanish-speaking readers when it came out in 1999. The novelist has been rebuilding the internal logic of language ever since.
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Culiacán-based filmmaker Beto Gómez works against the grain of a Mexico City–dominated film industry to produce some of the most exciting new films in Mexico, including his most recent, Pink Punch.
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Novelist Erasmo Guerra caught up with Monterrey alterna-rock band Plastilina Mosh—the duo of Alejandro Rosso and Jonas—at a makeshift beer and sangria stand after their performance in Brooklyn this summer.
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Andy Palacio was known as the king of Punta Rock, the Belizian dance music that grew out of that region’s strong Garifuna culture. Trinidadian artist Christopher Cozier talked with Palacio about the Garifuna’s struggle for survival in the Caribbean.
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For centuries, the urban infrastructure of the New World has been haunted by the presence of a rural culture immersed within the city, a sort of parallel slum city that José Castillo terms “urbanism of the informal.”
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