We Believed in the End of the World
We scrunched under the desk
where I once memorized
the lives of saints and heroes
while the teacher droned on
trying to stay calm
in the face of a bomb
that might never fall.
In that rich dark
we learned how we fitted
boy and girl,
how we were opposites
and each our own opposite.
Above us the stashed gum
of a generation of older brothers
glinted, amazingly hard:
if we tried to carve a heart
that dark sheen cracked.
We believed this world would end:
like water from the fountain
held in cupped hands,
like chalk dust or the powder
from a jelly donut.
Far away the principal rumbled on his scratchy intercom,
then nothing, the powerful swish
of traffic, silence, time passing,
the pulse quickening
as if to find a way out
and no world except us.
D. Nurkse has published his seventh collection of poetry, The Fall.
from A Cat at the End of the WorldBy Robert Periić and Vesna Maric
NOV 2022 | Fiction
Its hard to find historical fiction that accurately captures the worldview and mindset of the people depictedand exceedingly rare to encounter characters whose lives and thoughts feel expansive, rather than subtractive, in the remote past. Croatian writer Robert Periićs latest novel, A Cat at the End of the World, transports the reader to ancient Syracuse, and then to a colonial outpost in the Adriatic. The protagonist Kalia, servant to a wealthy family and object of torment by the scion Pigras, is accompanied by a cat named Miu and shown the first glimmer of care by a woman named Menda. In this excerpt, Periić shows how a cat's ungovernability can undo a hierarchy.
Stressed WorldBy Lenore Malen
OCT 2022 | ArtSeen
Stressed World is a show made of artworks that are largely handcrafted: painted, carved, drawn, cast, or assembled. Theyre mostly intimate and human scale with some exceptions.
Rodrigo Valenzuela: New Works for a Post Worker’s WorldBy Robert R. Shane
NOV 2022 | ArtSeen
Whether Valenzuelas imagery engages with present-day workers, utopic visions from a modernist past, or a futuristic sci-fi dystopia, capitalist structures of time come under critique throughout BRICs exhibition. His work defies the capitalist conceit of linear progress by showing us ongoing labor exploitation that reaches back to the beginning of the industrial era, and it revolts against the structures that systematically control the time of workers lives.
Data/Body: Corpus and the Cloud Empire of our LivesBy Charlotte Kent
SEPT 2022 | Art and Technology
My last column addressed generative art, a practice in which artists often use data sets to create complex works about our world. But where does that data come from? And, more importantly, can the aestheticization of data ignore its historical context or the privacy issues of its contemporary context?