In New York this past summer — hiding amid the gods and heroes of the Met’s blowout exhibition of Hellenistic sculpture — was an ardent, astounding suite of pen drawings of a temple’s ruins, sketched by an amateur two hundred miles from Constantinople. “We have found an entire artistic epoch!” the German engineer Carl Humann exulted at Pergamon, and he was savvy enough to know it despite having no archaeological training of any kind. Humann was a road planner, surveying the western extreme of Asia when he stumbled upon the remains of the ancient capital in the late 19th century. You can visit his grave on a hillside in Turkey, a country where history — as the artist Aslı Çavuşoğlu explains in this issue — has become a literal battlefield. He might remind you that the past is everyone’s business, and that modern life requires a constant excavation.

We roamed widely to complete this fifth issue of Even, our largest ever, and traveled not only across the globe but into the history books. Over the course of a year’s reporting, Anna Altman examined an unlikely new art museum in the West Bank (itself a cauldron of archaeological dispute), whose vacant galleries might as well be debating chambers. In Cape Town, M. Neelika Jayawardane met a group of young artists for whom South Africa’s vicious past is not merely source material; it’s the armature of their daily lives, and calls out to be reassembled or else dismantled. Google Earth may tell you the whole world’s been mapped, but there is more to the present than can be captured by camera or code. Once you stop looking for answers beyond the horizon you may find them beneath your feet.

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A year's subscription to Even includes three issues of solid writing on contemporary art worldwide. Each issue runs a hefty 184 pages, printed in an exquisite, collectible edition featuring multiple paper stocks. Join our growing community of international readers and we'll promptly send you Issue 5, our hefty fall number. (Issue 6 will arrive in January, so you'll have time to read each substantial edition without the guilt of watching past issues pile up.) Over the course of the year, we'll also have exclusive content and events for our subscribers. And there's a rather swank tote bag that accompanies your inaugural issue.


Even, a new magazine about contemporary art.

Even takes a systematic look at contemporary art. We publish long-form articles, ranging from in-depth monographic studies to broad analysis of art and its institutions. We feature distinctive, expansive reviews that take in multiple exhibitions at museums and galleries worldwide.


For Tongue Twister, the Czech artist ROMAN ŠTĚTINA partnered with an 80-year-old veteran of the country's national broadcaster, spoken of by her colleagues as the Czech Republic's "radio memory." She listens to a recording of a wacky sentence filled with P's and K's, and carefully splices out spoken blunders into a perfect recitation, but we never hear it; the doctored recording spools onto an obsolete reel-to-reel machine, held together with tiny pieces of double-sided tape. The film is one of numerous works Štětina has made with Czech Radio, exploring not only its technological innovations and its quiet censorship, but also the historical force of old media in a time besotted with the new. Radio is less an artistic medium than a historical fact: an institution whose audible track muffles underlying rules and crackles with subtle erasures.


Even More

Musée Picasso, Paris.
Opens October 4.

The Spanish hothead, in later life, respected very few artists, but one was a Swiss sculptor two decades his junior, whose extruded humanoids are as severe as his are boisterous. where Picasso favored confrontation and virtuosity, Giacometti was all about silent presence — which should make an interesting contrast in this two-hander, a promising successor to MoMA’s blowout “Picasso Sculpture” of last fall.

The Vulgar. Barbican Art Gallery, London. Opens October 13.

Vulgarity is an easy slur to lob from up high, but the people know what they like, and there has always been a market for spangles and crinoline, gold lamé and jeggings. Yet this exhibition — spanning five centuries of western fashion history, and curated by the fashion scholar Judith Clark and the author and child psychologist Adam Phillips — will be one of the first substantial show to look at the history of uncouthness.

Carlos Motta. Museo de Arte Latinoamericano de Buenos Aires. Opens October 14.

The multidisciplinary Colombian artist, fresh off a bondage-and-religion performance earlier this summer in Vorno, Italy, looks at theological testimony on gender and sexuality. Of particular interest is liberation theology, a doctrine focused on the religious experience of the poor (and embraced by Pope Francis), but here Motta applies a sexual, rather than social reading.

R.H. Quaytman. Museum of Contemporary Art, Los Angeles. Opens October 16.

In an era emphasizing the personal and the noncontextual, Quaytman’s paintings are displayed in contextually referenced “chapters”, so that pieces are site-specific and bodies of work are successive and connected. At MOCA this month is her first institutional survey, which forms the 30th chapter of the project she began 15 years ago.