Like a shell, penetrated by a grain of sand, can only re-act by producing layer over layer, by that creating a pearl;
the market, penetrated by a piece of art, can only re-seel by producing market-compliant prices, by that creating a money-art-work.

On one side it is a limited attack, just one a day,
on the other side it is an un-limited attack, every day one
– always with a slightly growing price.

Kmentemt, Money Art, 1993

Money Art = The appropriation of Money by Art
How Money Art started
Each visual artist dealing with art prints, must - apart from any limitations of the printing process - also deal with two fundamental questions:
  1. How large should the edition be? The answer here could be an edition of 12, 50 or 100 prints for instance.
  2. Moreover each print of the edition has to be numbered carefully, like 1/100, 2/100 and finally 100/100.
When an artist decides on the size and the numbering of his edition, this basically determines the prints´ price.

This is because regarding the price it makes a huge difference whether there are going to be 50 or 100 or 10,000 copies, and whether an individual print has a low number such as 6/100 or a high one such as 87/100 or 9,354/10,000.

The marketing approach
Often artists do not answer these questions from an artistical but from a business perspective., Finally its about image and marketing: How do I position this print in my previous work, my œuvre? Am I working for an exclusive group or do I want to position my prints oin the mass market? What price per square centimeter have I reached so far, and shall I stick to it in terms of my prints too?
Furthermore, the gallery plays a major role in determining the number and thus the expected price. Ultimately, however, the market price is set by supply (= size of the edition) and demand.
For us, this market-based approach became unsatisfactory, especially since the edition and its number are part of the artwork, often individually signed and guaranteed by the artist. We - perhaps traditionally - believe that every element of the art work shall be argued artistically and not within conventional market terms.
We therefore quite intensively engaged with the process of determining both the number of the respective issue and the price, and wondered whether it would be possible to not only define a price (-range) by the edition, but to set a very specific price. To what extent can an artist affect the price - especially in the field of art prints? How to bring about a paradigm shift from the price as an element outside, the external act of creating the art, to something inherent, part of the process of the work of art itself?

The bottom line

Can the price be justified solely artistically, regardless of the market?

Our artistic solution
We, as money artists, reached a conclusion by including a third element, next to number and price: the date. In dependence on the quantum entanglement we created a kind of money art share that is powerful enough to avoid being co-opted by the market, something that can sustainably hold its own in the market through its "artistic" pricing. Each art share - like todays - is a print on robust hemp paper, numbered 93.10263, priced 934,10 Euro and signed.

Instead of the price being the result of the market`s demand and supply, we entangled date, number and value - as in physics, creating a quantum entanglement, a grain of sand. When one of these elements is measured, the state of the other two changes - instantaneously.
For example, if we want to create the next art print, which is the next number, we have to do this on the following day, because that’s the artistic rule: If you change one element, like by adding 1 to the number, one day is added to the date and one to the value; in currency ten cents - without delay.
The economic consequence
The paradigm shift: The art work itself determines the financial value daily, instead of the artist, the gallery, the experts or the ups and downs of the art market..
                               Date                     Number            Price (€)                               
Cheapest            03.03.1995         93.891                       64,80           
Today                   29.10.2020         93.10263.                  934,10
Tomorrow            [DATE+1]            93.10264.                  934,20
... and so on and on
For the owner the interesting point is, although the price is “created” in quite an unusual way, the outcome is marketable and saleable like any other artwork or commodity.

The price for a piece of money art on the primary market is daily fixed by the art work itself, by the artistic rule. But when the HoC-owners start to sell their pieces of money art on the secondary market, the realized price then will be the result of bargaining - on this market supply and demand regain their power.

The artistic consequence
What might be new is the price and the pricing became an important and essential part of the art work, by that value and time are part of the aesthetic experience!

With more and more art prints created - until today we reached 10263 prints-- by assembling them, we create sculptures, and owing to the value - beside time - as an integrative dimension, we call them "Economic Sculptures".

With more and more art prints created, a new artistic-economic space unfolded. We call it the Universe of Money Art, where each print and sculpture finds its place, and where their follow-up deals will be pictured too. A universe of its own -with one heart beat per day. A visualization can be found on youtube.

The artistic approach
When it comes to appropriation of Money, sculptures allow us to strike harder, to re-enact and re-write Money´s codes, to force it to produce art works like Commodities or Origamis. We tear Money in to pieces and keep the best parts like Hedge Fund , We are making us funny about the greed of money and lure it with REEs, we infiltrated the market places and fairs as Fashion, we  even educate money with Mobile. We go for the heard of the market; we organize Auctions - whereby the deal is about the value of Art Work and of Art Labour.

Money art silences the art money talk, this fruitless commercial art speech. What´s the point , if you neither paid too much nor too less for your art work, if you exactly got the value you paid for and if the value is sustainable growing too? Why to complain about the commoditization of art, if you stand in front of a Commodity? There is no need to lament the financialization of art, if you walk through a Hedge Fund.

By declaring the appropriation of Money, declaring war, the risk is that none of the parties will win, but the chance is that this face to face fight will lead to a more balanced discours

But to make a real different, to generate an even pleasant discourse we have to go much deeper, to the roots of society, to its deep culture.

An important element of the deep culture are for example archaic histories of creation,  which narrate the basic relations like Human God, Human ⇔ Time, Human ⇔Nature, Woman ⇔ Man, ... and by that Human ⇔ Art.

A contemporary history of creation - like ours - has to include and to narrate further relations like Human ⇔ Science (The Big Boing) and Human ⇔ Money.

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Money Art
Authentic number:
Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263Authentic number: 93.10263
... where the price and pricing becomes part of the art experience!