It is difficult to say why and whether this is true, especially after Banksy’s feat. One could ask, How many bitcoins would you pay for this gesture? As Kuskowski suggests, the art market, as part of the (seemingly) free market, has entered the decadent phase, so the equation is not correct. It would be hard to perceive it as a triumph, but perhaps the crux of the matter is that both ideas – of money and of an art that is independent from it – sound equally abstract and are equally open to question. The same equation became the focus of Kamil Kuskowski’s work ≠, although in this case the title sounded more like wishful thinking than an acknowledgement of the fact that art is seemingly more durable than capital. The only capital for the onlookers was the very performance shrouded in the aura of a scandal created by the renowned artist. Depending on the adopted perspective, either Banksy’s strategy absorbed investors’ insatiable appetite for profit, or the market more than compensated for the loss caused by his prank. As if the famous banknotes signed by Joseph Beuys went into circulation again, only that the German marks cannot be exchanged for the euro any longer. When Banksy’s work self-destroyed moments after it had been auctioned, paralysing the art world by doubling in value relative to the selling price, the Kunst = Kapital relation regained its full strength.
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