Even Issue 2
We're tired of hearing about culture as elite, opaque, and unapproachable. We position art, music, architecture, and film in the context of the world's biggest stories, from the current crisis in Brazil to the sociological impact of Spotify and Uber. Our serious, at times irreverent writing bridges the misunderstood gap between culture and the world.
Unlike other magazines, Even's reviews cover multiple exhibitions at museums and galleries to provide much needed context. Each issue also features two in-depth interviews, in which artists discuss their work as it relates to the world at large, and a portfolio specially conceived for each issue by one of today's most promising young talents.
As we closed the first issue of Even this spring, Greece was kicking off. As we began to put together the second issue, it was brought to its knees. We’re an art magazine, not a political journal — but art history itself was born out of a love of Greece, and this summer, at last and electrically, the art world started to exhibit a belated resurgence of philhellenism. At the Venice Biennale, the sad spectacle of Isaac Julien’s Das Kapital singalong was beautifully outclassed by the artists of the German pavilion, Hito Steyerl among them, who draped from its Nazi-era marquee a defaced Greek flag. The coming Documenta will take place jointly in Kassel and Athens, to the delight of everyone except the Hessian tourism board. “Whatever happens, I want to die a Greek,” said Chateaubriand, France’s paramount Romantic. We know the feeling.