The Artist As is based on a lecture series with the same title that ran throughout 2016. It was presented at the Institute of Modern Art (IMA), Brisbane, and at Monash University’s Faculty of Art Design & Architecture (MADA), Melbourne, as part of the Curatorial Practice program.

“How do artists work today? What kinds of roles do they occupy, have these roles changed over the years, and how does this impact the ecology of art?” These are some of the questions that contributors Brook Andrew, Walter Benjamin, Heman Chong, Ekaterina Degot, Hal Foster, Helen Hughes, Helen Johnson, Isabel Lewis, Adam Linder, Suhail Malik, Tara McDowell, Emily Pethick, Terry Smith, Cecilia Vicuña, and Tirdad Zolghadr, seeks to address in this reader.

The Artist As is edited by Aileen Burns, Johan Lundh, and Tara McDowell. Designed by Ziga Testen and Robert Milne.

The Number of Inches Between Them continues a body of work in which Hall creates replicas of found, one-of-a-kind pieces of furniture. The replicas refer to objects Hall has encountered by chance and feels a magnetic attraction to, furniture that the artist wants to investigate physically through remaking. The Number of Inches Between Them doubles a geometric stone bench happened upon in a friend’s backyard in 2016. The replication is done twice: first as eight cast concrete interlocking panels that are shown assembled as a twin of the bench, and second as the same set of eight concrete panels presented disassembled and leaning against the walls of the gallery.

Bestiary of Corona Animals is an essay that illuminates the causal relations between the human tendency to objectify the world, the continuous expansion of extractive activity, the trace effects of the current climate regime, and the outbreak of the current coronavirus pandemic. These seemingly distinct phenomena, often analyzed and discussed separately, in fact share the same roots. The text introduces a cast of different animals, both fictional and tangibly real, whose personal opinions and experiences— informed by animal rights and ethics, biopower, geopolitics, and necropolitics—give credence to the hypothesis that the human colonization of the natural territory of the virus enabled the pandemic to spread in the first place. These animal voices seek for a type of worlding that provides an equal footing for humans and non-humans, starting by exchanging self-interest for empathic non-understanding and selfless reciprocity: from the isolation of thinking and acting in a vacuum, to a world continuum.

Kunstverein’s in-house magazine is a cross between an academic journal and a darts club newsletter. Each issue contains a limited amount of contributions that vary in length according to the subject matter at hand. The remit of ‘Ginger&Piss’​ is simple: to provide a platform for candid critique but at the same time allow the author to stay hidden. Therefore, each contributor writes under a pseudonym. ‘The Intern’ is both the theme and mastermind behind the fourth issue of ‘Ginger&Piss’. With contributions by A. D. Cinzano, Even Steven, The Great Illusionist, Jennifer Jessica Jane, ………… …….. Office, Mads-Egil Petersen, and Roxana Rosenthal.

Kunstverein’s in house magazine is a cross between an academic journal and a darts club newsletter. Each issue ​’Ginger&Piss’​ (the name is a misquotation of Laurence Weiner) contains a limited amount of contributions that vary in length according to the subject matter at hand. The remit of ‘​Ginger&Piss​’ is simple; to provide a platform for candid critique but at the same time allow the author to stay hidden. The concept dictates that each contributor writes under a pseudonym; the use of pseudonyms can be considered an answer to the cowardice of the art world, albeit a somewhat hypocritical one.

A collection of texts about the precarious situation of working and living as an artist. The short story goes through real and imagined situations that relate to the vulnerability of the artistic profession and the many compromises that have to be made along the way.

Alina Lupu, born 1985 in Romania, is a post-conceptual artist and writer. She has a background in psychology, photography and an incomplete education in fine arts. Through a paperwork mishandling committed by the housing corporation Ymere, she still resides in Amsterdam, 6 years and counting, in spite of a wave of encroaching gentrification. A fluke. As of December 2018, she´s had the fortune of getting funded by the local Dutch authorities through the Mondriaan Fond. Before that and throughout putting together most of these texts, she was alternately employed and contracted by Deliveroo, Helpling, Foodora, Uber, Hanze Groningen, Willem de Kooning Rotterdam, de Taart van m´n Tante, and Poké Perfect Amsterdam. Her pension will eventually total a bit over 2 Euros per month.

Designed by Andreea Peterfi.