Money

Is there a way out of self-exploitation?

 The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.

 Drawing by Dan Perjovich for Spike

Drawing by Dan Perjovich for Spike

Many people are anxious that the growing class divide in the art world and the succession of record-breaking prices paid for contemporary art endanger the belief system supporting it. But why is nobody worried about money itself? Isn’t what happens at an auction that money celebrates its freedom, its release from the burden of being a means of comparison? Is art the new money? On a currency that lives from the bank of the gaze, into which we all make payments.

Wherein lies the happiness of wage labour?