Unlike in Mexico City, contemporary artists from Guadalajara are not trained in art schools as they come from different disciplines such as architecture and media studies. So Far, So Close gathered recent works by those who do not share a style or common preoccupations, but rather a sense of geographical displacement.
In Memoriam: “John Coleman on Spectacle Lane,” by Belkis Cuza Malé; “Towards a Reading of Ortiz’s Cuban Counterpoint,” by Enrico Mario Santí; “Creolité: Power, Mimicry, and Dependence,” by A. James Arnold; “Paris Isn’t Always a City in Texas,” by Dany Laferrière; Interview with Raphaël Confiant; “Who Slashed Celanire’s Throat,” by Maryse Condé; “Cherries” and more.
Includes poetry and prose by Claribel Alegría, Manlio Argueta, Arturo Arias, Gioconda Belli, Ernesto Cardenal, Ana Istarú, Víctor Montejo, Roberto Quesada, and Sergio Ramírez; “Kidnapping Alaíde,” by Otto Raúl González; Interview with Pablo Antonio Cuadra; Texts by Antonio Benítez-Rojo, Ana Castillo, Ricardo Pau-Llosa, Gustavo Pérez-Firmat, Achy Obejas, and Nelly Rosario; Art by Francisco Alvarado, Josefina Guilisasti, and Marco Maggi; Book reviews of new Canadian writing.
Includes prose by Tony Burgess, Christy Ann Conlin, Ian Ferrier, Madeline Monette, Hal Niedzvicki, Timothy Taylor; Play excerpts by François Archambault, Jean Marc Dalpé, Carole Fréchette, Marie Laberge, Larry Tremblay; Art by Louise Belcourt; "Miniatures," by Geneviéve Letarte; Special Feature: "The Parable of the Tapeworm," by Mario Vargas Llosa.
This is the catalogue of the 2003 stunning exhibition Puerto Rican Light, where Allora & Calzadilla used a variety of representational means to convey light from the island.
Essays taking a look at urban writers and their influence on the Latin American canon.
Let me open with the following image: In 1965, a wrecking ball was about to hit a row of beautiful brownstone mansions on Park Avenue in Manhattan to make way for condominiums.
