Indholdsfortegnelse for Spring/Summer 2024 i AnOther Magazine

To reveal. It's an idea integral to the mechanism of a magazine: the turn of each page is, in a sense, a reveal of a new perspective, a different point of view. So too is the premiere of a film, the opening of an art exhibition, the launch of a book or the first look at a fashion show — all promise new beginnings, fresh ideas. This, then, was a natural thematic for AnOther Magazine — for the Spring/Summer 2024 issue, itself a reveal, the start of a new year. But the notion of reveal implies more — it connects with enlightenment, confession, truth. Creation itself is a process of revelation — as an artist travels through their process, characters emerge, desires are unveiled, plots twist and the physical form…

“How do we hold the present, the effects of conflict, when it's so devastating? How can we hold it in a historical way without being overcome by it? Since MeToo and Black Lives Matter, there has been a refocusing of power — people who have never had it but who have worked all their lives have been given positions as the gatekeepers of culture for the first time and there was a lot of space gained. But now we're seeing some of these people using their voice to take alternative positions — and being unceremoniously fired — at least in the States. All of that work undone. There are four books helping me to hold history in mind — Jacques Ellul's Propaganda: The Formation of Men's Attitudes, Napoleon: A Life…

“Gaza Writes Back is a collection of short stories comprising the work of young Gazans writing during 2008's Operation Cast Lead, also known as the Gaza Massacre, a 22-day Israeli military assault on the Gaza Strip. I got a copy after learning about the book's editor, Refaat Alareer, a poet, professor and activist who was assassinated on 7 December 2023 in a targeted Israeli airstrike. While the stories in the book vary widely in theme and style, there is something disarming, even blunt, about the collection as a whole. I was caught off guard by how intimate it felt to read. That is attributable to the talent of the individual writers and Alareer's skill as an editor. ‘There's a Palestine that dwells inside all of us,’ Alareer writes in the…

“I was a very restless young man, bouncing around the world travelling, especially in Mexico. In 1975 I visited a small valley my friend purchased near Valle de Bravo, a little town on a lake in the mountains of Mexico. He bought a dilapidated former hacienda, and I watched as local workers rehabilitated the house and made an organic avocado ranch. All the locals had adobe houses and plots of land that they grew corn on to make tortillas. I was surrounded by all this self-sustaining life. They had no electricity, the roads were marginal and when it rained it was a mud pit, but they were living off the land. I took so much in from their inventiveness and their ability to make their own implements, which were very…

PHOTOGRAPHY Roe Ethridge FASHION DIRECTOR Katie Shillingford SET DESIGN Andy Harman…

By the time this magazine is published, the London-based designer Simone Rocha will have made her haute couture debut. Rocha isn't creating under her own name — rather she has been handed the reins at Jean Paul Gaultier, as part of the house's ever-evolving roster of guest designers. The premise is simple: Gaultier extends an invitation to a different designer each season to make use of the label's formidable ateliers and awe-inspiring archive — literally, it houses some of the greatest rebel hits of late-20th-century fashion, from corset dresses to dissected trench coats and tailoring — to put their own spin on that legacy. Monsieur Gaultier himself habitually sits front row, applauding wildly. It's a reminder, season after season, of his pivotal position in defining fashion today, and has become…

1 From the title of the painting I Can See the Whole Room … and There's Nobody in It! (1961) by Roy Lichtenstein. The work is based on a panel from the Steve Roper comic strip, drawn by William Overgard and published the same year Hair: Alexandry Costa at Artlist using SHU UEMURA. Make-up: Satoko Watanabe at Artlist using MAKE UP FOR EVER. Model: Elio Berenett at Next Model Management. Casting: Roxane Dia at Webber Represents. Photographic assistants: Gabriele Renna and Kaj Lehner. Styling assistant: Joana Mahafaly. Production: Zoé Pabolleta at Cadence Image. Special thanks to Cadence Image and Joshua Wiederhold…

1 From the novel Murder on the Orient Express by Agatha Christie, published in 1934. Famously, nearly every passenger on the train was involved in the murder of the American gangster Cassetti, who was using the alias Samuel Ratchett at the time of his death. Hair: Joseph Pujalte at Bryant Artists. Makeup: Stephanie Kunz at Total World using MAKE UP FOR EVER. Model: Marte Mei van Haaster at Platform Agency. Casting: Rachel Chandler for Midland Casting. Set design: Giovanna Martial at Bryant Artists. Photographic assistants: Bertrand Jeannot and Flore Lorenté. Printing and scanning: LSD Lab. Production: 360PM. Producer: Jocelyn Rummler. Production manager: Julia Lellouche. Production co-ordinator: Aude Ineza…

1 From Little Red Riding Hood by the Brothers Grimm. The wolf tells Little Red Riding Hood that, having posed as her grandmother, he now plans to eat her. Hair: Franziska Presche at The Good Company using ORIBE. Make-up: Vassilis Theotokis at MA+Talent using NARS. Manicure: Yuika Yonehara at Haco+. Models: Annabelle W at The Milk Collective, Max Smith at People File, Saber and Max. Casting: People File at Mini Title. Set design: Hella Keck at Webber Represents. Digital tech: Thomas Carlà. Photographic assistants: Simon Wellington, Olivier Barjolle and Liberto Fillo. Styling assistants: Giulia Bandioli, Harriet Cummings and Gabrielle Dyer. Hair assistant: Masashi Konno. Make-up assistant: Simona Švantnerová. Set build: Isaac Ashley, Tom Hope, Charlie Martin and Eddie Amos. Set-design assistant: Mo Adams. Production: Block Production. Production assistant: Valentin Korolkov…

For someone who doesn't like to talk much, Kim has a beautiful voice. Dulcet. I understand her reluctance to engage in chatter, though; small talk keeps you small and makes the world more mundane than it is. But what talk for its own sake keeps you from, ultimately, is listening, which is such an active and beautiful component when it comes to communicating, and Kim's abilities to listen and absorb and learn are among her many sterling features. There are so many but let's begin with her ability to listen. I can see her now, driving along in western Massachusetts, which is where I met her, a little snow on the hood of her car, and she's listening to me as I talk about a recent cultural exchange in New…

“As I was perusing my bookshelves for this Document, I kept thinking of more and more books I could include and became a bit overwhelmed. So this is a smattering of many excerpts I could have chosen that have moved me in some way. Certain books struck me in my teenage years — one I haven't included is Women in Love by DH Lawrence. There was a word in it I became fascinated by – turgid – which Lawrence uses to describe a plant. I remember making a watercolour inspired by it that was lush and sensual. I also wanted to mention The Candy House by Jennifer Egan, which isn't part of this selection, but it inspired the title of one of the songs and some lyrics on my new…

Mark Borthwick photographs Kim Gordon 320-339 What was the most surprising thing that happened on this shoot? Simply a revelation. A surprise to be invited. A magnificent feeling. To have been given the finest opportunity to collaborate with Kim after all these years. And to have had the luxury to shoot her in Balenciaga truly inspired the day. There are few people we are blessed to meet in our lives whom somehow miraculously mirror the way we magnify our visions and Kim is beyond all a true art warrior from the heart. What is your favourite plot twist? The Stranger by Albert Camus — in a world where we banish all sense of morality we are reminded to reflect on our own humble sense of morals and the virtues of being…

“We're into multigenerational stories, so LCD Soundsystem's Losing My Edge is inspirational for us. There's a big element in our series High on the Hog about passing the baton, and the song speaks to that idea. We love going to shows, we love dancing and we love an anthem — this song resonates with joy. We've seen LCD Soundsystem many times, including at a very sweaty show at the Fox Theater in Pomona, followed by us dancing together in the living room. The song feels like it's been around for ever but it doesn't sound dated. “The lead singer, James Murphy, isn't trying to be anything but what he is — he is honest and funny. The song talks about finding relevancy in our lives as we get older and…

“My first encounter with the French-Martinique philosopher Édouard Glissant was during a lecture by the poet Fred Moten in Los Angeles. He said, ‘We have to consent not to be a single being.’ It set me thinking, so I read Glissant's Poetics of Relation, from which Moten was paraphrasing. Part of what's fascinating is the form — a philosophical text that's poetic, almost like a song. In it he talks about the interconnectedness of everything and how everything is always changing everything else — ‘Diversity, the quantifiable totality of every possible difference, is the motor driving universal energy.’ To acknowledge every organism or every dot in space-time as different can help us avoid categorical thinking, which in turn can lead to systemic violence or polarisation. Glissant talks about opacity too…

“Much to my mother's chagrin, I chose the drums. I was drawn to them. When I'm behind the kit it's pure catharsis, and in a world of noise, suddenly everything falls silent. The drummer has so much control and responsibility, they're the timekeeper. As a kid I toured Europe with my dad, an electric jazz bassist, helping him carry his equipment. There were a lot of trains, planes and automobiles. If he wasn't touring, I'd be in his studio. It gave me a good sense of what this career looks like. It wasn't always easy to comprehend a parent's desire to constantly be on the road and away from home, but the older I got the more I understood the sacrifices he made. Rhythm is my focus and music is…

That Cecilia Basari's label, Isa Boulder, is based in Bali and not one of the big four fashion cities is the result of little more than a familial guilt trip. Born and raised in Jakarta, Indonesia, Basari left home to study at Central Saint Martins in London and almost immediately the phone calls started — and didn't stop — until she returned to the region and took up residence on Bali, the neighbouring, palm-dotted paradise island, post-studies. “My mom has always really smothered me,” she says with a laugh during a glitchy Zoom call from her studio. “She'd phone me up when I was in London and tell me how much she missed cooking for me and ask me, ‘Don't you miss this or that meal that I make for…

Le Labo's Ambroxyde 17 candle is built around a synthetic molecule — ambroxyde — also key to the bestselling Another 13 perfume 2. The artist Katrien De Blauwer celebrates the intoxicating power of this musk-like scent in a series of collages. 1 From the first act of the comic opera The Marriage of Figaro by Wolfgang Amadeus Mozart, which premiered in 1786. The Italian libretto was written by Lorenzo Da Ponte. Here, Cherubino, a teenage boy, laments that the Countess does not return his love. 2 In 2010 AnOther Magazine collaborated with Le Labo on Another 13, a fragrance that juxtaposes clean architectural lines with sensual ambroxyde to addictive effect.…

Foreword 1 Lyrics from Babies by Pulp, released in 1992. The narrator reveals that he not only spied on his girlfriend's older sister, but also slept with her. Hair: Soichi Inagaki at Art Partner using BUMBLE AND BUMBLE. Make-up: Mel Arter at Julian Watson Agency using DERMALOGICA. Models: Dylan Moffett at The Milk Collective and Hunter Pifer at The Squad Management. Casting: Simone Schofer at Artistry Global. Lighting assistants: Jodie Herbage and Rory Cole. Styling assistant: Monica Jiang. Hair assistants: Masayoshi Fujita and Chikako Shinoda. Production: Artistry Global. Post-production: Luke at Touch…

1 From Breakfast at Tiffany's, a novella by Truman Capote, originally published in 1958. Hollywood talent agent OJ Berman is talking to the story's unnamed narrator about his old friend Holly Golightly. Hair: Olivier Noraz at Home Agency using ORIBE. Make-up: Manu Kopp at Artlist using BYREDO and MONASTERY. Models: Najaa Bensaid, Anna Lazzeri and Alice Metteliev. Casting: Lisa Dymph Megens at Industry Art. Set design: Seth Walpers. Photographic assistant: Hugo Veuillet. Styling assistant: Joana Mahafaly. Hair assistant: Angèle Fumey. Make-up assistant: Thomas Kergot. Set-design assistant: Julien Robles. Production: Error Management. Post-production: Scan Services. Special thanks to Studio Jacques…

1 From the 1999 film The Talented Mr Ripley, directed by Anthony Minghella. Tom Ripley (played by Matt Damon) has killed Dickie Greenleaf (Jude Law) and assumed his identity. Hair: Ramona Eschbach at Total World using ORIBE. Make-up: Marie Duhart at Bryant Artists using CLARINS. Manicure: Cam Tran at Artlist using OPI and BYREDO. Model: Delfine Bafort at Premium Models Paris. Casting: Ben Grimes at Drive Represents. Set design: Giovanna Martial at Bryant Artists. Digital tech: Juliette Breig Kral. Photographic assistants: Chloé May and Marine Grandpierre. Styling assistants: Jannis Jelto Witzel, Yakiv Kotlik and Rémy Yombo. Hair assistant: Vincent Zimberlin. Make-up assistant: Natsuki Oneyama. Set-design assistant: AntoineEmmanuel Picot. Production: White Dot. Special thanks to Julien Verdure…

Soap addicts of 1980s America knew Julianne Moore as Frannie Hughes, the bouncy-fringed ingenue with a disastrous love life in As the World Turns. On weekday afternoons she was tangled in plotlines that encompassed being kidnapped by a homicidal fiancé and battling an evil British twin. With sheaves of rapidly written dialogue and barely time for two takes, that stint on daytime television at the CBS studios in Hell's Kitchen was a small-screen bootcamp for Moore and the incongruous flipside to her nightlife off-Broadway in the likes of Caryl Churchill's skewering of Eighties greed, Serious Money. The actor had arrived in New York in 1983 with a theatre degree from Boston University, a laser focus and a sideline in magical thinking: her morning ritual at the time, christened “the lucky…

“There's always fucking something,” the handyman, played by Steven Yeun, is saying to himself, sitting behind the wheel of his weathered pick-up truck. It's one of those days where the petty gods are all morbid in their humour: the queue at the home improvement store had been long, the cashier was feeling unsympathetic and Danny Cho was just trying to return three hibachi grills he had been planning to use to kill himself, only he couldn't produce the necessary receipts. Now he's stuck with the souvenirs of his depression, and with himself, and whatever omen one can reasonably extract from this hand of cards. His luck is foul and baking in the LA sun. Even his seatbelt is giving him a hard time. The compounding losses play across his face:…

1 From the 1939 film Gone with the Wind, directed by Victor Fleming. The final words spoken by Rhett Butler (played by Clark Gable) to Scarlett O'Hara (Vivien Leigh) as he rebuffs her. Hair: Kiyoko Odo at Bryant Artists using SYOSS. Make-up: Ana Takahashi at Art Partner using DIOR BEAUTY. Manicure: Lauren Michelle Pires at Future Rep using THE GEL BOTTLE. Models: Anna Cleveland at The Squad Management and Louis Lota at Northern Soul Agency. Male casting: Mollie Dendle. Set design: Polly Philp at The Magnet Agency. Digital tech: Charlie Walker. Photographic assistants: Joseph Reddy and Daiki Tajima. Styling assistants: Precious Greham and Lea Zöller. Hair assistant: Masaki Ueda. Make-up assistant: Chloé Palmer. Manicure assistant: Megan Cummings. Set-design assistants: Tomomi KishimotoEley and Harry Beedle. Production: CEBE. Executive producer: Claire Burman.…

# 1017 Alyx 9SM alyxstudio.com 20Age Archive instagram.com/20age_archive 3Man 3manonline.com A Acne Studios acnestudios.com Alaïa maison-alaia.com Alessandra Rich alessandrarich.com Alexander McQueen alexandermcqueen.com Alexandre Vauthier alexandrevauthier.com All-In all-in-studio.com Allies of Skin allies.shop Alyssa Marie Groeneveld alyssamariegroeneveld.com Amiri amiri.com Andreādamo andreaadamo.it Andreas Kronthaler for Vivienne Westwood viviennewestwood.com Aniye Records aniyerecords.com Ann Demeulemeester anndemeulemeester.com Anna Suisse instagram.com/annasuiss Antonio Marras antoniomarras.com Après apresnail.com Area area.nyc Armani Beauty armanibeauty.com Artifact artifactnyc.net Ashish ashish.co.uk Ashley Williams ashleywilliamslondon.com B Balenciaga balenciaga.com Bevza bevza.com Blumarine blumarine.com Bode bode.com Boiler Room boilerroom.tv Bottega Veneta bottegaveneta.com Bradley Sharpe bradleysharpe.com Brunello Cucinelli brunellocucinelli.com Bulgari bulgari.com Bumble and Bumble bumbleandbumble.co.uk Bunney bunney.co.uk Burberry burberry.com Byredo byredo.com C CC-Steding cc-steding.com Calzedonia calzedonia.com Camille Surault camillesurault.com Cartier cartier.com Chanel chanel.com Christian Louboutin christianlouboutin.com Church's church-footwear.com Clarins clarins.co.uk Comme des Garcons doverstreetmarket.com Comme des Garcons…

Part Two 1 In the May 1935 issue of the American Mercury, William Faulkner published one of the few pieces of fiction he set in California, a short story he called Golden Land. Golden Land deals with a day in the life of Ira Ewing Jr, age 48, a man for whom “25 years of industry and desire, of shrewdness and luck and even fortitude” seem recently to have come to ashes. At 14, Ira Ewing had fled Nebraska on a westbound freight. By the time he was 30, he had married the daughter of a Los Angeles carpenter, fathered a son and a daughter, and secured a foothold in the real estate business. By the time we meet him, 18 years later, he is in a position to spend…

The noise of the city is very loud, in recollection it's like the soundtrack of a film turned up too high, deafening. I remember clearly, the room's dark, we don't speak, it's surrounded by the continuous din of the city, caught up in the city, swept along with it. There are no panes in the windows, just shutters and blinds. On the blinds you can see the shadows of people going by in the sunlight on the sidewalks. Great crowds of them always. The shadows are divided into strips by the slats of the shutters. The clatter of wooden clogs is ear-splitting, the voices strident, Chinese is a language that's shouted the way I always imagine desert languages are, it's a language that's incredibly foreign. Outside it's the end of…

“Nothing fancy,” I tell him. “The bulbs are very dim …” “Bulb. There's only one bulb.” I relieve my purse of its bulge in the bathroom and discover that the administration of this motel, meaning some sneaky relation of the Señora's, has also been looting the InterContinental: instead of the usual stack of carefully torn squares of newsprint, a folded yard of bluish toilet paper rests on the tank of the commode. It's 1984, the real 1984, the revolution's over and things are looking up. He's standing up by the window but you can't see a thing out there through the screen with the light behind you, what does he think he's looking at? “I see you have a back door,” he says. “These rooms were originally hired by the…

[Robert] Johnson's vision was of a world without salvation, redemption or rest; it was a vision he resisted, laughed at, to which he gave himself over, but most of all it was a vision he pursued. He walked his road like a failed, orphaned Puritan, looking for women and a good night, but never convinced, whether he found such things or not, that they were really what he wanted, and so framing his tales with old echoes of sin and damnation. There were demons in his songs — blues that walked like a man, the devil, or the two in league with each other — and Johnson was often on good terms with them; his greatest fear seems to have been that his desires were so extreme that he could…

“I don't think physics and storytelling are that far apart. When you look at the universe in general, you always want an explanation of something because that's how you understand it. But we need to grapple with things we can't understand, that's just part of human existence. In science you can never prove anything — you only prove that you can't disprove it. It's like you're existing in the strangest place, where you must accept a certain level of openness. And you wouldn't think that something like science would be so open to interpretation. I remember, when I was filming Oppenheimer, there was this scene where a lot of the background actors were real scientists from the Los Alamos National Laboratory in New Mexico. And so, after I did my…

“Maybe about eight years ago, the filmmaker Kogonada and I were talking — about experience, our lives. He said, ‘I'm going to send you this article about han.’ And it was so fascinating. Han is the Korean term that describes a mixture of sorrow, regret and rage. It stems from the idea that all Koreans are born with han, given the history of our culture. It's difficult to articulate what han is in English — it's hard to articulate pain and how it exists. How do we describe that through experience? There are so many painful moments in life and I think understanding the concept of han and this suffering — in a way, all of humanity carries some shape of suffering — is a part of our intrinsic emotional…

“I keep this photograph by Ren Hang on my screensaver as inspiration because it speaks to me about dreams, desires and freedom. It's the image of a naked woman casually lying in the middle of an empty road smoking a cigarette, and it sums up the life that I want — an ownership over my body, the open road, a rebellious attitude. Hang lived in Beijing, where I was born, and when I discovered his photography it felt so startling. It's the gaze of a new youth — a new generation. I left China when I was six so I never experienced what it is like to be an adolescent coming of age there. I've always thought of China as culturally very conservative, and it was so refreshing to see…

“When I was a kid, my family all had matching shearling coats. We would get new ones every year as we grew up, bought from the same farm in California. I have a collection from when I was younger until now. They're a wonderfully luxurious, dense yellow shearling with a vintage, golden, Seventies warmth. They don't have labels — pure perfection. We'd wear them everywhere, even on the beach with just a bathing suit. There's always a connection to my childhood in my designs, and whenever a collection is without shearling it feels like something is missing. It has a softness and cosiness that cuts through the harshest of ideas — in one of my collections there was a guy in a full body cast but we lined his leg…

Benjamin Barron and Bror August Vestbø wince at the idea that All-In — an independent magazine and fashion brand operating from within the white heat of Paris's in-crowd — might be considered a litmus test for who and what are perceived to be cool. “Yeah,” Vestbø says. “‘Cool’ is not a word we tend to use.” The designer is sitting cross-legged in the elaborately corniced apartment he shares with Barron in the fifth arrondissement, surrounded by cardboard boxes containing the found objects that will eventually be incorporated into All-In's next collection. “It's just a bit …” They both pause and turn to face each other, curling their lips as if at an unpleasant odour. “We often use the word ‘fab’ when we are happy with a new garment.” Fab, like…

Foreword 1 From the play The Importance of Being Earnest by Oscar Wilde, which premiered in 1895. Lady Bracknell questions Jack Worthing on his eligibility for marriage to her daughter, Gwendolen, and learns of how, as an orphaned baby, he was found at a train station. Model: Reimi K at Body London. Set design: Tilly Power at The Magnet Agency. Photographic assistant: Rory Cole. Set-design assistant: Sean Kirwin. Production: DoBeDo Represents. Producer: Maddy Thompson. Production manager: Leilou Garrigue. Production assistant: Lamb Brothers Ltd. Printing: Camilla Smart…

Hair: Akemi Kishida at MA+Talent. Make-up: Anthony Preel at Artlist using BYREDO. Manicure: Alex Feller at Artlist using MANUCURIST. Models: Achol Ayor and Celeste Fitzpatrick at Models1. Casting: Isabel Bush at Concrete Rep. Photographic assistants: Bertrand Jeannot and Valentine Lacour. Styling assistants: Salomé Rouquet and Céleste Tabourneau. Hair assistant: Lucile Bertrand. Make-up assistant: Shana Montier. Production: Concrete Rep. Postproduction: Gentle Touch Retouch…

I give myself to pleasure / Since pleasure is the best medicine for my ills Photography by Oliver Hadlee Pearch and styling by Isabelle Sayer I always thought it would be better to be a fake somebody than a real nobody Photography by Charlotte Stouvenot and styling by Dogi Nesanir I hope we will, too. What? Meet again sometime. We have. Photography by Julia Hetta and styling by Ola Ebiti Oh, grandmother, what a horribly big mouth you have! All the better to eat you with! Photography by Marili Andre and styling by Agata Belcen…

PAUL MESCAL in conversation with ANDREW HAIGH With three years of theatre in Dublin under his belt, the actor Paul Mescal only came to mainstream attention in April 2020 when he made his television debut in the hit Lenny Abrahamson-directed adaptation of Normal People, the bestselling novel by Sally Rooney. It was the most-streamed series on the BBC that year and made Mescal a household name — his role as awkward, school-age Connell earned him an Emmy nomination and a Bafta for best leading actor. In the four years since, a series of impressive parts has followed: his first feature, Maggie Gyllenhaal's critically acclaimed directorial debut, The Lost Daughter, premiered in 2021. The next spring, he was in Cannes promoting two lead roles: in Anna Rose Holmer and Saela Davis's…

There's a guileless vulnerability to the actor Sophie Wilde that evokes Audrey Hepburn. It's partly her physicality: enormous, brimming eyes, capable of expressing defiance and despair in a single glance; her gamine gait — even when she's dressed in an oversized sweatshirt, as in the grisly, critically acclaimed horror Talk to Me, Wilde is elegant; and of course, there's her close-cropped hair. When I mention the resemblance, Wilde cites Hepburn as a longtime hero — she credits her parents’ VHS boxset of Hepburn films with inspiring her to pursue a career onscreen: “I watched Roman Holiday and said, ‘That's what I want to do,’’ she says. Wilde is already well known in her native Australia, and following her breakout roles in the British thriller You Don't Know Me and Netflix…

1 From the novel The Grapes of Wrath by John Steinbeck, published in 1939. Jim Casy, the former reverend, no longer feels guilt about the sins he committed while he was a preacher. Hair: Olivier Schawalder at Art + Commerce. Make-up: Hiromi Ueda at Art + Commerce using ARMANI BEAUTY. Manicure: Abena Robinson using MII COSMETICS. Model: Penelope Ternes at Premier Model Management. Casting: Rachel Chandler for Midland Casting. Digital tech: Florian Massal. Photographic assistants: Aurèle Ferrero, Vasilis Kalegias and Rory Cole. Styling assistants: Isabella Damazio and Hayley Clutterbuck. Hair assistant: Damien Lacoussade. Make-up assistant: Manabu Nobuoka. Production: Rosco Production. Producers: Ella Moore and Danny Needham. Production co-ordinator: Lucy Banfield. Production assistant: Gigi Redhouse. Post-production: Maeva Smircic…

Drones and beats echo through Tate Modern's vast Turbine Hall. Lights pulse in choreographic movement. From the ceiling, speakers and screens descend, synchronised. A film in which a ventriloquist intones a monologue is projected upon multiple screens; we hear her voice but her lips are unmoving. The film cuts between images of her and a cuttlefish — a liquid, morphing, flaring body. Is she ventriloquising through this cephalopod? Is it speaking to us? “The machine is animal” is one of the oblique phrases she utters. This is just one sequence in Anywhen, a work made for Tate Modern by Philippe Parreno in 2016. It was a landmark moment for the Paris-based artist who was born in Oran, Algeria. Since his earliest endeavours in France in the 1990s, he has attempted…

These complexities are given their most significant exploration in the central scene of 36 fillette: the hotel room encounter between Lili and Maurice. She vacillates between desire and dread throughout the scene. As they approach his hotel room, Lili takes the key from him and opens the door herself, but then lags behind him in the entryway. When they are seated on the sofa, she turns away from him and covers her face with her hand, but then coyly peeks out at him through her fingers. His attempt to pull her close is thwarted when she turns to crouch on the sofa with her back to him, yet she does look over fetchingly at him from behind her shoulder. Maurice sums up these mixed messages by saying (when he is…

Chapter 1 THE WEBSITE OF DREADFUL NIGHT Five hours’ New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm. It is that flat and spectral nonhour, awash in limbic tides, brainstem stirring fitfully, flashing inappropriate reptilian demands for sex, food, sedation, all of the above, and none really an option now. Not even food, as Damien's new kitchen is as devoid of edible content as its designers’ display windows in Camden High Street. Very handsome, the upper cabinets faced in canary-yellow laminate, the lower with lacquered, unstained apple-ply. Very clean and almost entirely empty, save for a carton containing two dry pucks of Weetabix and some loose packets of herbal tea. Nothing at all in the German fridge, so…

As she sat there devouring her bucatini con le polpette, she somehow made an associative leap and found herself wondering whether abstract painting wasn't due for a spaghettiandmeatballs recuperation. After all, it had enjoyed a history similar to that of Italian-American cuisine. Both had appeared early in the 20th century and were widely received with suspicion and derision (all that garlic!); both enjoyed a mid-century, early-adopter hipster appeal that inevitably subsided, though not before preparing the ground for a broader mass appeal, which precipitated a fall from grace in the perception of elites, who came to see these phenomena as boring and outmoded. Artists continued to make abstract painting in large numbers, more than ever before, but, as with cooks of spaghetti and meatballs, they were amateur or otherwise removed…

WOMEN WEAR CLOTHES TO DEMONSTRATE THEIR GRIEF by Elaine Kahn Today my therapist suggested I try lying down on top of graves She had a leaf stuck to her cheek But I didn't tell her I'm depressed because my orgasms alone are uninspiring And the most money I have ever made was when I got hit by a car ROMANCE OR THE END by Elaine Kahn I have heard it said that love turns people soft but I have never been more brutal Poems from Romance or the End by Elaine Kahn, published by Soft Skull Press in 2020…