Whether in the homogenous march of the rush-hour commute, the endless churn of the news cycle or the fluctuations of the global stock market, the contemporary self is consistently swept up in motion. Current events have only made this more apparent. The closing of the Strait of Hormuz offered us the bluntest corrective to the ideology of invulnerable flux, highlighting the power of borders, limits and blockage. While the fantasy of the limitless and frictionless digital self runs up against the material infrastructure that moves the world. In our autumn issue, we've clocked movement at every scale and speed: Carlo Rovelli meets the gods, we walk the Korean DMZ, and follow Switzerland's itinerant Yenish community. We also surrender to slow cinema, take to the floor with Candoco dance company, while Alfie Bown uses psychoanalysis to decode the technology of football. There are conveyor belts and the logistics industry, DJ Spanish Fly working the low end and Japanese neon trucks blazing through the dark; the whole procession is gathered up by Thomas Nail in The Three Ages of Motion. For our cover story, Maria Grazia Chiuri’s Fendi strikes a balance, while Chanel’s fine watches stand strong against gale-force winds. Elsewhere, we study the craft of weepy actors and Elliot James Kenedy captures the ignoble choreography of falling down the stairs. Sandra Choi shares her pearls of wisdom for Jimmy Choo’s 30th anniversary, and frequent TANK contributor Hubert Crabieres takes self-portraits on a road trip from Paris to London. Plus, we discuss Queercore with Vaginal Davis, Erdoğan with Suzy Hansen, Kojo Koram lectures on drugs, and Patricia Nilsson informs us that horniness is a great driver.
