Tense is a never-realised title, originally intended for the Top Stories series. It was created by Lucy Lippard and Jerry Kearns in the early 1980s but published only now by Kunstverein Publishing, Amsterdam. The original edition was printed to accompany the exhibition Top Stories which focused on the publishing work of Anne Turyn at Kunstverein, Amsterdam, 2 April–26 June, 2021.

Tense is a never-realised title, originally intended for the Top Stories series. It was created by Lucy Lippard and Jerry Kearns in the early 1980s but published only now by Kunstverein Publishing, Amsterdam. This limited number of 250 copies was printed to accompany the exhibition Top Stories which focused on the publishing work of Anne Turyn at Kunstverein, Amsterdam, 2 April–26 June, 2021.

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. This issue takes the topic of ‘audience’ as its starting point and seeks to serve two aims: on the one hand it provides unfabricated answers to questions about who Kunstverein’s audience really is (or is not, yet!) via an online survey developed by the editors, Reinier Klok and Isabelle Sully, and on the other it attempts to bring to the surface the many factors that can complicate statistical reasoning in the first place.

This publication tells the story of the British Constructivist artist Marlow Moss (1898–1958) and her work. A series of lists with ‘facts’ is compiled from writings about and by Moss. These lists contain contradictions and gaps. In part because some characters in the novels written by Netty Nijhoff, Moss’s partner, are based on Moss, and so this knowledge has been sometimes treated as non-fiction because of the lack of information on Moss. The result is that fiction became part of reality. The publication is an alternative biography that indirectly shows how history is constructed.

Hans de Vries concentrated on the study and registration of processes and appearances that occur in and are created by nature. De Vries was a close observer, an onlooker, an eyewitness, whose aim was to discern and document the relationship between man and his natural environment. His practice has been referred to as “micro-emotive art”, a term coined by the Italian artist Piero Gilardi. Hans de Vries Works 1968–1975 is De Vries’s first exhibition since he stopped producing art at end of the 1970s. It is a retrospective of all the publications and book-related works including parallel articles and essays about his practice.

Kunstverein is essentially a curatorial office that offers lectures, presentations, screenings, and independent publishing. Because of its unconventional structure, it allows alternative methods to be considered in terms of presentation, hosting, and exhibition-making. This extensive anthology looks back at the past decade of their activity, from 2009 to 2019, and is filled with ephemera, images of performances and shows, bulletins, and much more. With contributions by Yana Foqué, Krist Gruijthuijsen, Anthony Huberman, and Maxine Kopsa.

Designed by Marc Hollenstein.