An interview with Ian Cheng

“You can switch into different life scripts, different models of how the world works, depending on where you are and who you’re with.” The American artist, now showing at London’s Serpentine, on Uber consciousness and Shiba Inus
with Jason Farago

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From Issue 9

Alphabet City

by Linda Besner

“Toronto’s Googlehood will deploy wall-to-wall sensors and cameras to capture the flow of pedestrian, bicycle, and vehicle traffic, as well as environmental measures like hyperlocal weather patterns, carbon monoxide levels, and noise pollution. This is the real, unstated master plan: to build an experimental city that is also a vast real-time data-harvesting center.”

The Body Politic

by Madison Mainwaring

“When Daniel Applebaum performed a pas de deux on the stage of the New York City Ballet at Lincoln Center last October, he broke from tradition when he lifted Taylor Stanley into the air. The reason: Stanley is a man. He had taken over a role in The Times Are Racing originally created for a woman.”

The Color of the Earth

by Kanishk Tharoor

“Though he admired Cartier-Bresson and other western contemporaries like William Gedney and Lee Friedlander, Raghubir Singh felt strongly that black-and-white was not suitable for photography in India. He shot in color, blessed with regular shipments of Kodachrome film from National Geographic.”

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From Issue 9

People of the Book

Michel Houellebecq, France’s most acclaimed and notorious author, was only half-joking when he published Submission, a political satire that sees the establishment give way to a brash, charismatic (and Muslim) newcomer. Two and a half years later, Emmanuel Macron really did fracture the old party system — and the intellectual turned banker turned president has grand plans of his own.
For Cody Delistraty, for Even no. 9, the erudite young president is a product of France’s literary ferment as much as its political class. If you want to understand the Macron mystery, and whether France has really changed, start with the bestseller list.

Interviews from Even

Luc Tuymans

“There is an elementary relapse into nation states, into populism. But there is no other solution than the European community. There is no other solution.”

Aslı Çavuşoğlu

“I was wondering if we could create an archive that would trace the history of art institutions back to the beginning of the Turkish Republic. So we could see what affected what at the very beginning. Because if you don’t know the history you are doomed to fail again.”

Jenny Holzer

“The art world was relatively clean then, though, because there was little to no money to be made. Minimalism hadn’t been all that expensive, or successful in the market. Many younger artists didn’t think about selling their stuff, or developing a brand. It was a paradise in that it was about the work; it was about the content; it was about striving to give.”

From Issue 9

Spin Cycle

“As a skater I loved Tonya Harding because, like her, I was strong and fast and artless,” writes Lucy Madison, who hung up her figure skates as a child. “I loved to see her succeed because it meant I had a chance, too.” But Harding’s rough-hewn athleticism, and unglamorous personal life, made her an awkward fit for figure skating — and that was before she pled guilty to conspiracy charges.
Now Harding is back in the limelight with I, Tonya, a wild mix of mockumentary and sports thriller. But as Madison asks in our new issue, is there no way to rediscover the 90s prime-time villain without “a hard shell of nostalgic camp, empty on the inside but for a hint of disdain”?

From the archive

Dansez le Twist

Through the end of February, the Fondation Cartier in Paris is presenting the largest retrospective ever of Malick Sidibé, a photographic pioneer and the king of Bamako nightlife. Allison Moore, a specialist in Malian photography, evoked the force of Sidibé’s photography in an obituary for Even no. 4.
“It is rooted in the Mande values of a communal self, of an aesthetic that responds to change and keeps up to date without losing its connection to the past: a rhythmic aesthetic, one of slow transformation through repetition and slight variation.”


The photography of Michele Borzoni: economics, Italian style