Luiz Inácio Lula da Silva is in prison; other, more corrupt politicians sit in Niemeyer’s ministries. Brazil’s arts institutions have known crises before — but this one could put off the future for good
by Silas Martí
by Matthew J. Abrams
Egon Schiele, dead a hundred years ago this October, was a demigod to postwar rockers and punks. What is left of his bad manners in the age of Snapchat and sexting?
The Highland Reels
by Susannah Thompson
London is good enough for some, but the true British artistic powerhouse is Glasgow: restless, experimental, and proudly European. Too bad about those referenda
People of the Book
by Cody Delistraty
Michel Houellebecq envisioned a France whose politicians were so exhausted that a young upstart could break the system. He was almost right: it was Emmanuel Macron
From Issue 9
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.”
Counsel for the
Palazzo Grassi, Venice
From April 8
Oehlen revived painting in the 1980s by embracing all the wrong things — stuttering lines, palettes of sickly browns and oranges — and creating a tricky aesthetic that was, in the words of Run-DMC, “not bad meaning bad but bad meaning good.” Caroline Bourgeois, this show’s curator, pulled off a revelatory exhibition of the equally skeptical painter Rudolf Stingel; there’s every reason to think this one will be just as shrewd.
Plato in LA
Palmyra: Loss and Remembrance
Getty Villa, Los Angeles
The Roman palace by the Pacific reopens with a refreshed permanent collection presentation and two major shows that marry the classical age and the present. One examines the legacy of Greek philosophy on Jeff Koons, Adrian Piper, and Huang Yong Ping; the other gathers some of the finest funerary statuary from the ancient city ISIS has ransacked.
Fashion Drive: Extreme Clothing in the Visual Arts
From April 20
If you want to make a splash in society, you need more than the right portraitist; you need to dress the part. This beguiling show will examine 500 years of codpieces and petticoats, velvet smoking jackets and little black dresses. Yet this isn’t an exhibition of clothing itself: expect major artworks, by the likes of Dürer and Daumier, Beuys and Warhol, Mai-Thu Perret and Wolfgang Tillmans.
Walker Art Center, Minneapolis
From April 26
The jazz pianist, who appeared on our podcast this winter, has made a committed shift into art these past few years; he and his wife, the sublime performer Alicia Hall Moran, lit up the 2015 Venice Biennale with “Work Songs,” a gruff and agitated synthesis of spirituals, diva ballads, and chain-gang folk songs. His first museum exhibition will include curving sculptures that recall the ceilings of old-time ballrooms; collaborations with Lorna Simpson and Glenn Ligon; and, of course, live music.
From Issue 9
The Interpreter’s Tale
Interviews from Even
“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.”
“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.”
“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.”