Artists, musicians, intellectuals: in the years after 1964, when a junta took power in Brazil’s swooping new capital, much of the country’s cultural clan went into exile. Lina Bo Bardi stayed. The Italian-born architect, whose commanding art museum hangs over São Paulo’s Avenida Paulista, found little work for two decades. The military government closed her museum in Salvador. But Bo Bardi could not go back to Italy, not when her adopted country had given her art and life its form. “When one is born, one chooses nothing,” Bo Bardi said later. “I chose to live in this place. That’s why Brazil is my country twice over.”

She had a point. Even has taken a special interest in Brazil since our first issue, in which Silas Martí assessed the young artists of today’s Rio and São Paulo against five hundred years of colonial anthropology. Now, for this fourth issue, Martí undertakes a grand, urgent survey — a personal reckoning as much as a historical study — of Brazil’s artists and art institutions as the country reels from an impeachment, a recession, and an epidemic. The survey sits at the heart of a globetrotting number, which also examines the art of Asia’s combustible megacities, the hardening landscape of contemporary Istanbul, and the young talent of Australia. We’re all a bit jetlagged; our passports have had a workout; but making sense of art today requires nothing less.

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Reviews

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.

Interviews

Portfolio

In Zauberberg, PILAR MATA DUPONT's polar reversal of Thomas Mann’s 1924 novel, we meet Rose, a young, hardy-seeming Australian woman, who has come to a Swiss sanatorium to visit her tubercular cousin. But the resident doctor finds a moist spot on her lung, and Rose checks into the alpine infirmary, where time becomes space and history stands still. They are colonials sick with modern Europe’s favorite disease, or wish they were, and they while away the years on the magic mountain, which Mata Dupont films with a disjunctive naturalism closer to Dogville than to Brecht’s epic theater. Rose and her cousin kiss through surgical masks; the snow falls softly on the valley below; then the century catches up with them, and with their country too.

Negatives

Even More

Della Robbia.
MFA Boston.
Opens August 9.

For a century, the Florentine family dominated Renaissance sculpture with their opalescent white figures and refined colorful reliefs. Much mimicked though never paralleled, the Della Robbia technique of glazing terracotta (a proprietary affair) has been lost since the 15th century — but survives in the masterpieces of this show, which includes numerous rare loans from Italy.

Richard Deacon.
Museum Folkwang, Essen.
Opens August 26.

After his monumental Tate retrospective of 2014, now comes a quiet review of the Welsh sculptor’s works on paper, almost none of which have been shown before. The drawings and prints show the nuanced vision of a singular man, as opposed to the self-described fabricator, whose intricate large-scale creations have required the efforts of glassblowers, woodworkers, and Glasgow shipbuilders.

We Call It Ludwig.
Museum Ludwig, Cologne.
Opens August 27.

In the 1980s more than a hundred galleries sprung up in the biggest city in North Rhine-Westphalia, as did this museum, which celebrates its 30th birthday with an an uncommonly reflexive anniversary show. Gerhard Richter, Candida Höfer, Andrea Fraser, and Christopher Williams all look directly at directly at the institution that put Cologne on the map and then outlived its decade of preeminence.

Cristof Yvoré.
FRAC PACA, Marseille.
Opens August 27.

A welcome hometown celebration for the hushed, rigorous art of this painter from the south of France, who died three years ago, aged just 46. Yvoré was better known in Belgium, where his small-scale still lives were appreciated alongside those of Luc Tuymans, Michaël Borremans, and the other figurative painters of Antwerp’s Zeno X Gallery.