I dispense, divide, assign, keep, hold

Ismail Erturk (Other), Pamela Carter Goldin+Senneby (Other), Anna Heymowska (Other), Hamadi Khemiri (Other)

Research output: Non-textual formExhibition

Abstract

‘I dispense, divide, assign, keep, hold’ constitutes another stage in The Nordenskiöld Model, an experiment in theatrical finance articulated as a series of free-standing public rehearsals. The NAK hosts a scene developed by theartists in collaboration with cultural economist and former banker Ismail Ertürk attempting to imagine a future numismatics of a Credit Default Swap (CDS). Numismatics being the study and collecting of coins and currency,Ertürk uses the current financial situation of Greece to trace the material remains of present day financial instruments. The Kunstverein itself becomes a stage for this imaginary numismatic collection, which also references the various developmental phases of monetary and financial economy: a coin from the 4th century BC, an antique money-changer’s table from the seventeenth century with a special sliding mechanism, as well as a display of thecurrent Ger- man national debt. The money-changer’s table, featured centrally in the NAK exhibition, has left its traces on today’s world of finance. Called “banca” in Italian, it is the origin of the word “bank”. If a money changerbecame insolvent, the device – the “banca” – was destroyed; “banca rotta” indicated bankruptcy. On August 12 the final day of the exhibition, bankruptcy will also be declared at the NAK and the money-changer’s table will be destroyed.
Original languageEnglish
Publication statusPublished - 2012
EventI dispense, divide, assign, keep, hold - Neuer Aachener Kuntsverein, Aachen, Germany
Duration: 1 Jan 1824 → …

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  • Cultural economy intersects contemporary Art in Goldin+Senneby’s work

    Erturk, I., Dec 2021, Economic Ekphrasis: Goldin+Senneby and Art for Business Education. Guillet De Monthoux, P. & Wikberg, E. (eds.). Berlin: Sternberg Press, 13 p. (Stockholm School of Economics Art Initiative series Experiments in Art and Capitalism).

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