In 1992, Dutch artist Job Koelewijn directed a landmark intervention, The cleaning of the Rietveld pavilion, performed by three women of his family dressed in traditional attire.

25 years later, conceptual artist Alina Lupu has updated Koelewijn’s piece to a society reshaped by neoliberalism, and to the working conditions of cleaning personnel within the gig economy. The green-blue color of the publication’s cover references the cleaning platform Helpling. Designed by Till-Michael Hormann after an idea of Job Koelewijn.

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.