Identities that are composed of complementary yet also contradictory ingredients. Cultural backgrounds that are likewise based on fields of reference that overlap but never merge seamlessly. And right in the midst of all this, the creative process, in many cases viewed as derived from the artist’s identity and “background,” yet always eluding these factors to a considerable degree too. The 100th issue takes up the debate about “identity” as a field in which the most diverse factors of influence, context and discrimination intersect, in order to pose questions about the production background for contemporary creativity. To what extent can artistic practice be explained by markers such as class affiliation, ethnicity, gender, sexual orientation, “migrant background,” etc.? In what ways do concrete artistic processes transcend or undermine these categories of difference, which seem to form an integral component of cultural discourse? Does it make any sense at all to assume that what is anyway an “intersectional” identity underpins everything and everyone? And might there not also be a potential emancipatory dimension in working against the types of identity codification that certain sectors of the art world would like to stake a claim to? springerin #100 searches for effective approaches to meet the unorthodox challenges that contemporary thinking about identity poses for art and other fields.