Question 1

Is there a method to your madness?

Accepted Answer

The one red thread: Time becomes the measure of everything. Not the market, not opinion, not name — but time. That is the core. Everything else follows from it. The three strands: 1. Time as artistic material The date is not context — it is form. The day of creation defines the number and the price. The sculptures are condensed periods of time: a weekend, a month, a year, all the Mondays of 2014. Time becomes visible, ownable, tradeable. 2. Price as artistic statement The price is not a consequence of the market — it is a consequence of time. With this, the most important question of power in the art market is answered artistically: Who determines value? Here: a rule, not a gallery. 3. The system as the artwork It is not the individual object that is the artwork — it is the system that generates it. The individual prints and sculptures are manifestations of it. The system has been running since 1993 and will continue to run — regardless of whether anyone buys, regardless of the market, regardless of names. Why it is one single red thread: The three strands are not independent. You cannot remove one without destroying the whole: Without time → no unique price Without price as rule → no system Without system → just another print The red thread therefore reads: Time replaces the market as the measure of value — and the system makes this visible. And the History of Creation in the background — with the devil standing for money — is the mythical layer of this thread. It tells the same story at the level of deep culture.

Question 2

Is this art or a financial product?

Accepted Answer

Yes.

Question 3

A Big Boing?

Accepted Answer

It is commonly known as 'The Big Bang'. However, we believe it was more of a sound than an actual crash. Therefore, we like to refer to it as 'The Big Boing' — when matter and anti-matter collapsed and out of the small bits of left over matter, you and I have evolved!

Question 4

Is a HoC print a copy or an original?

Accepted Answer

Each print is unique for sure, but — because time is an integrative dimension — the question of copy or original depends on the state of your mind: Pessimistic = Every day is the same Optimistic = Every day is a new day

Question 5

Is a HoC print a token too?

Accepted Answer

Each HoC print functions as a time-based token: uniquely identified, rule-driven, and embedded in a living system of value.

Question 6

Why don't you sell in Dollar too?

Accepted Answer

Because the Dollar is already taken by the devil!

Question 7

What's the price to sell my HoC?

Accepted Answer

The point is, although the price is 'created' in quite an unusual way, the outcome is marketable and saleable like any other artwork or commodity. Therefore you as an owner, you are free to barter and sell your 'piece of money art' through our platform on the secondary market at whatever price you choose — or you get. As a hint: The price of today's HoC is 938,40 €

Question 8

Why do you use prime numbers?

Accepted Answer

Should you ever meet an alien, the fastest way to start a conversation with it is to talk about the prime numbers, because they are valid throughout the universe.

Question 9

Is Damien Hirst a money artist or an artist of money?

Accepted Answer

Art expert Charles Dupplin of the specialist insurer Hiscox on Damien Hirst's diamond-encrusted human skull worth £50m: 'This is a spectacular work and undoubtedly the work with the highest intrinsic value in modern and contemporary art.' Without doubt it is one of the most expensive works of art, but does that make it money art? Hirst of course has a name on the art market and therefore he can charge (almost) any price for his works of art. But I have the feeling that he was not quite sure of this and that is why he argued about the value of the materials — and therein lies the weakness of his approach. So for me he is just a brilliant artist of money. Money artists can argue the price solely artistically, regardless of the name or the material used.

Question 10

What is the difference between you and Peter Lik, if there is any?

Accepted Answer

What Peter Lik and Kmentemt have in common is the growing price within the edition. But what is different? 1. Approach: Peter Lik has a marketing approach. His question is how to make a lot of money. Nothing wrong about that — and his answer is a genius marketing trick. He truly is an 'Artist of money' like Hirst, Jeff Koons and others. Our approach is completely different, it might even be the opposite: we have an artistic approach and our question is: Can the price be justified solely artistically, regardless of the market? Our solution is the quantum entanglement of number, value (price) and time (date). As it is with entanglement, when one of these elements is measured, the state of the other two changes — instantaneously. Therefore, 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. 2. Price: Peter Lik has kind of price levels for his artworks. If you buy our money art print you buy a kind of art share, and you are not purchasing it AT a price, but you are purchasing A UNIQUE price. The price is yours, literally! Furthermore, not just the price of each art print is unique — the date is unique too! Peter Lik does not have a time concept. 3. Content: Peter Lik's photos are very decorative but there are no deeper layers or challenging questions. We wrote a contemporary 'History of Creation', reaching out for the deep culture of society, because those histories of creation narrate the basic relations like Human ⇔ God, Human ⇔ Time, Human ⇔ Nature, Woman ⇔ Man — and by that Human ⇔ Art. 4. Edition: Peter Lik's editions are all limited. Our edition is sustainable — just one print per day (= limited), but every day one (unlimited). 5. Money: He makes more money than us, for sure. 6. Timeline: We started our money art concept in 1993.

Question 11

What do the artists On Kawara, Hanne Darboven, and Tehching Hsieh have in common, and how does your concept differ from theirs?

Accepted Answer

Artists such as On Kawara, Hanne Darboven, and Tehching Hsieh have made time a central element of their work, each in a distinct way. On Kawara, in his Today Series, documented individual days by painting the date, translating time into a minimal and almost objective visual form. Hanne Darboven developed complex systems of numbers, calendars, and notations in which time becomes visible as a mathematical and structural order. Tehching Hsieh radicalized time as lived experience, transforming it into strict performative rules — such as punching a time clock every hour for an entire year. The key difference in this approach is that not only time, but also price becomes part of the artistic material. While these artists document, structure, or embody time, this concept extends their logic into the economic realm: each day produces not only a work, but also a price, generated according to a fixed rule. In this way, the market is no longer an external force, but an integral component of the artwork itself. What is new, therefore, is the combination of time, rule, and economy. From the continuous daily production emerges an evolving system in which works, prices, and meanings develop simultaneously. Art is not only produced over time, but also valued through time — and it is precisely this simultaneity that defines the difference.

Question 12

What is the artistic discourse about — and what is it certainly not?

Accepted Answer

Not about: Money art silences the fruitless commercial art speech. What's the point, if you neither paid too much nor too little for your artwork, if you exactly got the value you paid for and if the value is sustainably growing too? Why 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 discourse. About: For us the valid and most interesting discourse about a piece of money art is the secondary market. The price for each piece of money art, be it a print or a sculpture, on the primary market is daily fixed by the artwork itself, by the artistic rule. But since the HoC-owners can trade their pieces of money art on our AR-platform too, the new prices on the secondary market will be the 'discourse' — and will be made visible in the AR-universe. Artistic Measurement: On this secondary market supply and demand regain their power. Although there is always the daily increasing value of the new created HoC — and this price might be taken into account by the market as a kind of reference. We call this the artistic measurement of the economic space. The German word for 'to measure' is vermessen — and it has two important meanings: to measure to be impudent

Question 13

How deep does the discourse go in your art?

Accepted Answer

To make a real difference, to generate an even more meaningful discourse, we have to go much deeper — to the roots of society, to its deep culture. An important element of the deep culture are 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 narrate the above ones plus further relations like Human ⇔ Science (The Big Boing), Sex ⇔ Child, and Human ⇔ Money.

Question 14

What was your theoretical version of Money Art in 1993?

Accepted Answer

Short version: Each HoC — both as part of an economic sculpture and as part of a sustainable edition — is defined by the interconnection of three dimensions: quantity (n), time (days), and value (ATS, Euro, etc.), as well as by its fundamentally marketable nature. Long version: The History of Creation (= HoC) is an amusing story about the origin of the world, written in English, in which creation is set in motion by an act of carelessness by God: 'The Big Boing.' Further development is then driven by new ideas — sex being one of them. The original drawings give the story its necessary lightness and joy of life. Yet where God is, the devil is never far: in art, this is money. Each HoC — carefully printed on hemp paper — is not only an art print, but also an artwork that escapes traditional art market laws, questions them, and ultimately uses the elements, laws, and rules of the market as part of the artistic creation process. Through its respective 'Authentic Number 93.xxx,' each HoC is also part of an economic sculpture with the following three dimensions: Quantity (n) Time (days) Value (ATS, Euro, etc.) If one considers the entire edition since January 1, 1993, a structure emerges within this three-dimensional space — a kind of value helix that continues to grow with each day and each HoC. More poetically, it can be described as a string of pearls or a sustainably growing money tree. If owners decide to sell their HoCs and bring them to market, there is no predetermined price. The market comes into play — the price is formed, as usual, through supply and demand. The achieved prices and their changes along the time axis become new values within the coordinates described above. These values are like new pearls, which continuously increase the overall value of all HoCs along the time-value chain. With a heartbeat per day, the system grows into a sustainable edition in which each individual element also contains the entirety. P.S.: For the market, an HoC is in itself a disruptive factor. But just as a shell reacts to a foreign body by forming a pearl around it, the market may respond by forming layers of prices around an HoC price. Once on the market, HoCs can be traded like any other commodity in the art market — although, there is always the daily price of the current HoC…

Question 15

Why should I buy a print I cannot choose the motif of?

Accepted Answer

The motif is the same for everyone. What you choose is the day — and with it everything that day means: the price, the number, the moment in history. The motif is the frame. The day is the painting.

Question 16

What happens to the value of my print if nobody buys tomorrow's?

Accepted Answer

Nothing. The artistic rule continues regardless. One print per day — whether sold or not. The system does not wait for the market.

Question 17

Are all HoC prints the same?

Accepted Answer

The drawing is the same. The date, the number and the price are not. Just as two people born on the same day share a birthday — but not a life.

Question 18

Can I own two prints?

Accepted Answer

Yes. But you cannot own the same day twice.

Question 19

Why would I buy a whole month?

Accepted Answer

Because January is not just 31 days. It is the beginning of something. The coldest point. The new year. Your month, literally.

Question 20

What is the difference between a print and a sculpture?

Accepted Answer

A print is a day. A sculpture is time itself — a week, a month, a year, all the Mondays of 2014. The sculpture makes time visible as a structure.

Question 21

Can I disassemble a sculpture and sell the individual prints?

Accepted Answer

No. The sculpture is the sum. Destroying it would be like selling the days of your marriage one by one.

Question 22

Is this a pyramid scheme?

Accepted Answer

No. In a pyramid scheme, early buyers profit at the expense of later ones. Here, every buyer pays exactly the price of their day — no more, no less. The only thing that grows is time.

Question 23

Why hemp paper?

Accepted Answer

Because it lasts and it is sustainable. And because the devil deserves good material.