Two years after a landmark climate agreement, Paris is trying to live up to its ecological ideals. The French capital’s museums have gone green — but might an infatuation with nature suggest a fear of art?
by Emil Leth Meilvang
by Kanishk Tharoor
The Louvre Abu Dhabi, open at last, stands to upend everything we know about museums — and about democracy. Who is it for?
The Blazing World
by Tan Copsey
How to breathe in the Trumpocene? As a climate denier drives a diesel-spewing tank through the EPA, ecologists have no choice but to give up the conference-center coffee and roll up their sleeves
by Daniel Fairfax
Anri Sala has never turned back from his early training in cinema. But his newest videos reveal an artist who puts more faith in soundtracks than in scripts
From Issue 8
The Season Finale
by Kyle Chayka
“What to make, then, of the new Four Seasons, scrubbed clean after a $33 million renovation and rechristened as two separate restaurants, The Grill and The Pool? I started a recent evening there in the Pool, where a new bar has been carved out of a former private room and a captain in a dramatic white Tom Ford dinner jacket clucked over its few guests. The post-restoration vibe here is decidedly Seaworld.”
by Deirdre Loughridge
“Gustavo Dudamel seems to see music as an artistic sphere unto itself, capable of feeding the soul and having nothing to do with politics; hence the platitudes, such as his frequent line that music is a ‘universal language.’ But this is an idea born in 17th-century Europe, out of sheer ignorance of how different music across the world could be.”
by Suzy Hansen
“Turkey has always had a particular problem with free speech, one that I found bewildering when I first moved here in 2007, a year after Orhan Pamuk, the Nobel Prize-winning novelist, had been put on trial for his words. But putting journalists on trial has long been the Turkish state’s reflex against dissent.”
Counsel for the
Museum de Fundatie, Zwolle
From January 21
In the 1990s, Rauch emerged as the most prominent figure in the briefly world-famous school of Leipzig, grabbing hold of the tradition of East German figurative painting and making it theatrical, ornery, strange. Not all of Leipzig painting aged well; this 65-work retrospective, starting off with works from his first show at Eigen+Art in 1993, promises a chance to consider.
Morgan Library, New York
From January 26
Even if you haven’t read A Little Life, Hanya Yanagihara’s alternately adored and reviled novel of love and abuse, you’ll remember the cover photograph: Hujar’s Orgasmic Man, in which a blond ephebe shuts his eyes in painful pleasure. The American photographer receives the full treatment in this retrospective, which tours afterwards to the Berkeley Art Museum.
Stories of Almost Everyone
Hammer Museum, Los Angeles
From January 28
If we really believe contemporary art can communicate ideas, why do the wall texts usually do most of the speaking? The thirty artists in this show all make works resistant, in various ways, to textual interpretation; among them are Matthieu K. Abonnenc, who produced a portfolio for Even no. 3, and Christodoulos Panayiotou, interviewed in Even no. 7.
Outliers and American Vanguard Art
National Gallery of Art, Washington
From January 28
What we today call “folk art” — a term abjured by Lynne Cooke, the curator of this years-in-gestation exhibition — was invented by American art dealers in the years around 1920. Yet artists outside the mainstream came to the same discoveries as paid-up art world members; they were, at times, direct influences.
From Issue 8
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.”