N. American poetry/poetics translatd into Spanish, Latin American poetry/poetics translated into English.
edited by Charles Bernstein and Eduaro Espina
Mario Arteca, tr. G.J. Racz Lila Zemborain, tr. Gabriel Amor Fransisco Madariaga, tr. Molly Weigel Esteban Peicovich, tr. G.J. Racz Barbara Guest, tr. Arcadio Leos
Poetics / Poeticas Meanwhile | Daniel Freidemberg de Ojos del testimonio | Jerome Rothenberg, tr. Heriberto Yépez Una semana de blogs para la Fundación de Poesía | Kenneth Goldsmith, tr. Néstor Cabrera Quesada Escritura y experiencia | Nick Piombino, tr. Néstor Cabrera Quesada Francisco Madariaga, mi padre, el poeta del trino blanco y el oro del amor | Lucio L. Madariaga Interview w Francisco Madariaga | Silvia Guerra LINEbreak: Barbara Guest en 1995 | Charles Bernstein, tr. Arcadio Leos
Disfiguring Abstraction a performance at the Museum of Modern Art on April 3, 2013 at 12:30pm in the Inventing Abstraction show on the sixth floor of the museum, assembling under the Network Connections sign at the beginning of the exhibition.Part of the series Uncontested Spaces: Guerrilla Readings in Kenneth Goldsmith's "Poet Laureate" program. This reading is a supplement to "Disfiguring Abstraction," an essay on the Inventing Abstraction show forthcoming in the Spring 2013 issue of Critical Inquiry (which begins with these aphorisms and first paragraph):
You can be a museum or you can be modern, but you can’t be both. ––Gertrude Stein to Alfred Barr
No painting is so figurative that under certain conditions it will not look abstract. ––after Oscar Wilde
What color is abstraction? It can’t just be white. Its invention in time (for example, 1910 or 1912) only means that it creates a holding space for abstractions from other times and places. To centrally locate one locus of abstraction would be to diminish the radicality of abstraction’s connections to its others – or its engendering of its others.