BOMB Magazine

11/02/2024

“I have this dialogue between the paint and the thread, where the paint behaves like thread and vice versa.” —Jessica Rankin

The artist balances embroidery and painting in her latest exhibition, “Sky Sound.”

Biological, celestial, bodily, cellular, liquid.

11/02/2024

“What’s the phenomenological life of an alligator?” —Andy Marlowe

Marlowe recounts the funniest tasks they took on while working as 's research assistant.

When research becomes art: from alligator lyrics to hidden histories.

11/01/2024

“With this piece, it feels like every time we run it is a litmus test.” —Ivan Talijančić

Talijančić and Rachel Jendrzejewski discuss the process of creating their immersive performance piece, “TRACES.”

Blurring reality and fiction in a performance that tails “Sophie Calle” across the Twin Cities.

11/01/2024

“No two sheets of paper have exactly the same fiber structure, and brushes change continuously over time.” —Huang Yi

Yi and Ryoichi Kurokawa’s performance piece, “INK,” meld technology and calligraphy.

Cutting-edge technology and traditional calligraphy meld in a dance performance from Taiwan.

10/31/2024

From our Fall issue, "Reincarnation Waiting Room" by Angie Sijun Lou.

https://bombmagazine.org/articles/2024/09/16/reincarnation-waiting-room/

See the fiction writer at our Fall Conversation & Reading Event in partnership with NYU next Thursday!

Please join us for a conversation and reading with Fall issue contributors Garth Greenwell, Rumaan Alam, and Angie Sijun Lou.

10/31/2024

“I think the best metaphors for life with the internet in your pocket are from the occult.” —Zach Williams

The author explores the internet as an alternate realm in his collection, “Beautiful Days.”

A debut story collection explores place, technology's dark undertow, and the transformative power of parenthood.

10/30/2024

“[Johan] Grimonprez seasons dry diplomatic procedure with polyrhythms to recreate the destabilizing feeling of geopolitics careening to the brink.” —Cosmo Bjorkenheim

Read Bjorkenheim’s review of Johan Grimonprez's archival essay film “Soundtrack to a Coup d’État” in our Fall issue.

​​In this “PDF disguised as a music clip,” the documentarian sets a narrative of Cold War geopolitics and contemporary colonialism to the rhythms of…

10/30/2024

“I have this vague notion that the super wealthy also have a lot of debt; these people are extremely rich, but they’re not terribly liquid.” —Maura Brewer

The artist experiments with money laundering in her recent project, “Offshore.”

The art of money laundering.

10/29/2024

In partnership with NYU Creative Writing Program we will be hosting a conversation and a short reading by three of our fall contributors: Garth Greenwell, Rumaan Alam, and Angie Sijun Lou.

BOMB's Senior Editor, Benjamin Samuel, will facilitate the conversation. A wine reception will follow.

RSVP: shorturl.at/ociuI
McNally Jackson Books 📚

10/29/2024

“There are no paranormal phenomena / in the universe / of a concentration camp.”

Read four poems by Brandon Shimoda featured in our Fall issue.

“There are no paranormal phenomena / in the universe / of a concentration camp”

10/29/2024

“When you take something out of a story, it still haunts the text.” —Jeff VanderMeer

After completing his novel, “Absolution,” the author and his research assistant, Andy Marlowe, travel to Florida’s Forgotten Coast and chat about their process.

When research becomes art: from alligator lyrics to hidden histories.

10/28/2024

“For me, there has to be a purpose to what I’m doing outside of just making a painting.” —Jessica Rankin

The artist invites writer Marcus Civin to her home studio in Harlem.

Biological, celestial, bodily, cellular, liquid.

10/28/2024

Location scouting takes on a vampiric quality in Sam Alden’s comic, “May We Come In?” Read it now in our Fall issue.

Looking back on his time in the film industry, illustrator Sam Alden draws out the vampiric quality of location scouting.

10/27/2024

“I love the unreliability of memory [...] By drawing these works from memory, there is a looseness of what is loved in a moment—and what is lost.” —Cheryl Pope

In her latest solo show, the artist illustrates the female form with colorful textiles.

Textiles, boxing, and strip clubs.

10/27/2024

“To me, the most important part of the poem is the last line. I have contempt for people who can’t end the poem well.” —Matthew Rohrer

Ahead of his book release, the poet chats with Ian Fishman about the current state of poetry.

The poetry of psychedelic dailiness, humorous sadness, and a wonder about the world and what ’ s beyond it.

10/26/2024

“I strongly identify as a woman, but at the same time, I don’t align with the way our current system defines or enforces that identity.” —Katie Ebbitt

The poet’s new collection, “Fecund,” explores the complex emotions attached to fertility and womanhood.

Poetry on fertility, fatigue, and the freedom to choose.

10/26/2024

“Perhaps I am a victim of art school. But I think I’m more a conceptual thinker fascinated with the pedagogy I am trapped in, a part of or apart from.” —Jennie C. Jones

The artist discusses the evolution of her work through the years for BOMB’s Fall issue.

Ahead of two major projects in 2025, the sonic and visual artist shares her aha moment threading together painting, architecture, and acoustics and how…

10/25/2024

“How do we create a space that is immersive but doesn’t feel totally hokey? Having one person experience it at a time has felt crucial for that.” —Rachel Jendrzejewski

Talijančić and Rachel Jendrzejewski’s performance piece, “TRACES,” blurs the line between performance and sincere relation.

Blurring reality and fiction in a performance that tails “Sophie Calle” across the Twin Cities.

10/24/2024

“If the people did not transition / from life into death, / did they die?”

For BOMB’s Fall issue, Brandon Shimoda reflects on the legacy of the mass-incarceration of Japanese immigrants and Americans in four poems.

“There are no paranormal phenomena / in the universe / of a concentration camp”

10/24/2024

“One time someone asked me who I was writing my poems for, and I said dead poets.” —Matthew Rohrer

The poet embraces short- and long-form in his latest collection, “Army of Giants,” (Wave Books).

The poetry of psychedelic dailiness, humorous sadness, and a wonder about the world and what ’ s beyond it.

10/23/2024

“My st*****rs hold patterns, colors, and shapes that I translate to invigorate viewers’ connections to their own nervous systems.” —Cheryl Pope

Strip clubs and erotica take center stage in the artists current solo show, “No Place Better than the Body.”

Textiles, boxing, and strip clubs.

10/22/2024

“If I were to oversimplify Sufi thinking, it’s letting love lead.” —Saks Afridi

How do we imagine the future? The artist joins Melissa Joseph to discuss the power of prayer, memory, and miracles in storytelling.

Memories, prayers, and miracles.

10/22/2024

“I want my life to end with me. It feels important that my body has its own ending.” —Katie Ebbitt

The poet joins old friend Emily Roll to discuss womanhood and her latest poetry collection, “Fecund.”

Poetry on fertility, fatigue, and the freedom to choose.

10/21/2024

“I see [my masks] as symbolic representations of states of being or surrogates for identity.” —Adriana Farmiga

The artist explores the relationship between anonymity and protest through her large-scale wooden sculptures.

Working with the front and back of the mask.

10/21/2024

“Our rich interior lives in many ways deserve to be translated and freed without necessarily being transferred into a marketplace.” —Jennie C. Jones

With two major projects slated for 2025, the artist shares how history inspires her work and her approach to connecting different mediums in her practice.

Ahead of two major projects in 2025, the sonic and visual artist shares her aha moment threading together painting, architecture, and acoustics and how…