Issue
#25

Editorial: Money

I should begin by thanking the organisers of Runway magazine for inviting me to guest edit its 25th issue and to express a profound hope that there are no regrets on account of the editorial you are presently reading which is far too long and in fact continues on in much the same way for a distance that is almost embarrassing. The bulk of text itself disappears below the border of the container you are looking at now and extends at least another metre or so (depending on your preferred size of type) down and across the floor on which you sit or stand. There are many reasons why it grew to such a length but the most important one to mention here is the fact that the number of words I can add to it no longer represent a material expenditure of ink and paper (both of which would have been accountable against Runway’s meagre budget) but rather an evaporation of time …read more

Inside Issue #25

Futures…


Benjamin Forster

It(AAD:$3.13) was(ABC:$3.58) a(ABP:$2.74) cry(AGI:$3.48) ,(AGK:$13.59) it(AGO:$0.58) was on(AHE:$4.06) her ability(AIO:$6.42) that they had not(ALL:$5.52) heard(ALQ:$7.31) ,(ALZ:$4.47) uttering a theme that had not been(AMC:$11.22) invented(AMP:$5.66) , the money that(ANN:$19.65) has(ANZ:$33.34) been abandoned(AOG:$2.23) by its crew . She(APA:$7.92) saw a(AQA:$3.37) few(ARI:$0.74) pieces(ARP:$13.45) of furniture(ASX:$36.54) .(AWC:$1.58) She stood ,(AWE:$1.82) in(AZJ:$4.73) unexacting(BCI:$2.24) stupor , until she saw(BDR:$0.46) Dagny dressed(BEN:$12.66)

Paying the piper: Art in an age of elite capital


Ben Eltham

  In the shimmering heat of the Persian Gulf, a number of rather expensive buildings are taking shape. On the island of Saadiyat, alongside the glittering hotels and shopping centres, a largely foreign workforce is constructing colonial outposts for some of the most famous cultural and educational institutions on the planet: the Louvre, the Guggenheim,

Vanguards and Vandals – The street art/graffiti dichotomy


Erin Wilson

  As mainstream support of street art has gained momentum internationally over the past decade, Australian city councils have begun to reassess existing strategies and policies concerning the management of graffiti. While these policies are broad, money is often of primary concern: with the cost of graffiti removal reaching over $1 billion annually in Australia,

Pop Will Eat Itself: Hidden cycles of exchange in contemporary sound


Julian Day

  Exactly twenty years ago several men boarded a ferry to the bleak Scottish island of Jura, described by former resident George Orwell as ‘extremely ungetatable’. After a late dinner of battered haggis they carried two suitcases through the rain to a brick boathouse. There they lit a fire, unpacked fifty bundles of banknotes and

Ad Valorem: On Denis Beaubois’s Currency project


Christopher Williams-Wynn

    Contemporary art lacks coherent and absolute principles for determining its form, content or context. This truism implies that it is increasingly difficult to sustain the ideological separation of artistic pursuits and commercial interests. This erosion of artistic conventions and institutions can be traced through the history of art and philosophy, which contain perennial

We can work it out: Gerry Bibby’s Combination Boiler at The Showroom


Elizabeth Stanton

  The relationship between money and art runs hot and cold. In the United Kingdom an ice age has loomed over public arts organisations following government spending cuts which began in 2010-11 across all sectors. The arts policies of Prime Minister David Cameron, and his coalition off-sider George Osborne, have since been declared more harmful

The culture of copying: Monetary value and exploitation. An interview with Johannes Kreidler


Julian Day

  Johannes Kreidler is a German composer whose conceptually oriented work has attracted wide attention. Unusually for contemporary classical music, much of his work highlights the otherwise hidden workings of the industry with several pieces directly addressing capital and cycles of exchange. A key work is Fremdarbeit (2009) in which Kreidler was commissioned to write

We are all economists now, baby.


Rebecca Conroy

  More than in any other context, commodities are most true to themselves as art.1 Joshua Simon   Dialogue, not money, is the real currency of the art world, it is discourse that binds it together, forms the artists’ cliques, the dealers’ whispers and the critics’ nods.2 Erik Empson   The fractured human beings, the


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