daniel ward — IchikawaEdward — Ichikawa Lee — Joshua Edward —Ainslie Templeton — Amrita Hepi — Samuel Lieblich — Arini Byn — Bridie Lunney — Carmen-Sibha Keiso — Chi Tran — Claire Lambe — Eugene Choi — Eugene Yiu Nam Cheung — Jacinta Keef — Justine Youssef — Kat Capel — Kiri-Una Brito Meumann — Lil Palser Barto — Sophia Walsh — Jessica Pearson — Angus McGrath — Bridget Chappell — Mara Schwerdtfeger Hana Pera Aoake — Amy Parker — Liv Moriarty — Miso Bell — Ritika Vohra — Kata Szász — nat brigg — Cristina Dawn — Dina Saifo — Vi Massa — Gareth Morga — Audrey Pfister — april phillips —Alex Klages — Jasper McGrath —Campbell Rothnie — Mira Schlosberg — Neika Lehman — Chunxia Qu — Bridie Lunney — Spencer Lai — Agnes Whalan — felix garner davis — Tim Hardy — Lia Dewey Morgan — Bridget Erin Flack — Bridget Gilmartin — Shannon May Powel — 

2020, English — Screen printed softcover — 128 pages
145 x 204 mm
First edition. Edition of 130 (numbered).
Screen printed covers, please note that each edition carries subtle variation due to the nature of fabrication.


Ainslie Templeton, Amrita Hepi & Samuel Lieblich, Arini Byng, Bridie Lunney, Carmen-Sibha Keiso, Chi Tran, Claire Lambe, daniel ward, Eugene Choi, Eugene Yiu Nam Cheung, Ichikawa Lee, Jacinta Keefe, Joshua Edward, Justine Youssef, Kat Capel, Kiri-Una Brito Meumann, Lil Palser Barto, Latifa Elmrini Gonzalez, Lou Hubbard, Manisha Anjali, Marcus Whale, Panda Wong, Sally Olds, Spencer Lai, Tyson Campbell.


"…ie.—for the people we will be is a concatenation of gestures as much as it is a gesture in itself. This book is an entry point into understanding the psychology of artists in a world that has sped through fragmentation and wholly embraced its disintegration. What you are reading is and was conceived in a time when people began wondering what art can do beyond s(t)imulating itself. It contains artists, writers and thinkers who are both subjects of and contributors to evil, and in their work we might find moments that allow us to swim amidst the melancholy and ecstasy and rage and truncation and hope (false or real), all of which contour the parameters of this particularly untidy moment in history. I have found, in writing this text, that our days to activate change are numbered — which is not so much an indictment on mortality but on the realisation that we must spend our energy more wisely. This book is not about death but it is certainly framed by it, and the revolution which is to come is one where systemic upheaval is — as Audre Lorde once said in The Uses of Anger (1981) — driven by ‘anger, not moral authority. There is a difference.'


Eugene Yiu Nam Cheung
Tomorrow is a Dream I Never Had


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