The editorial premise of this special issue is that the adage ‘art and money do not mix’ is now wholly untenable. As detailed in our extended interview with Clare McAndrew, the art market has grown rapidly over the last twenty years, leading to systemic and structural changes in the art field. For some, this growth of the market and its significance for art is an institutional misfortune that, for all of its effects, is nonetheless inconsequential to the normative claim that art and money shouldn't mix. This commonplace premise looks to keep the sanctity or romance of art from the business machinations of market mechanisms, as eloquently summarised by Oscar Wilde's definition of cynicism (‘knowing the price of everything and the value of nothing’). This issue repudiates that normative moral code, and precisely for the reasons just stated: by now, the interests of the art market permeate all the way through the art system. The interests of the art market shape what is exhibited and where; what kinds of discourse circulate around which art (or even as art) and in what languages; and what, in general, is understood to count as art. In short, the art market - comprising mainly of collectors, galleries and auction houses - is now the primary driver in what is valuable in art.

This article addresses contemporary art as a means to investigate how, and to what extent, financial logic impacts upon the socio-cultural sphere. Its contribution is twofold: on the one hand, the article shows that contemporary art's valuation practices increasingly reflect the logic of capitalization; on the other hand, it assesses the emancipatory potential of blockchain technology for the cultural sphere. In relation to the latter I argue that, in spite of the technological novelty of blockchain-based art projects, these nonetheless fail to challenge a received logic of finance. This exposes the limitations to technological determinism as a means of countering financial power in the socio-cultural sphere, and points to new problems for art's valuation methods in relation to the liquid logic of algorithmic finance.

This article examines how artists, activism, and works of art may contribute to a more textured understanding of debt in contemporary society and culture. The diversity of aesthetic practices and range of strategic interventions in which artists are organizers and activists are manifest in the Global Ultra Luxury Faction (G.U.L.F.), advocacy initiatives by Working Artists and the Greater Economy (W.A.G.E.), and alternative, trans-local projects such as the Arts Collaboratory. These activist interventions provide the context for an examination of how artists have seized upon discourses related to debt and finance to produce works that offer a critical reappraisal of the global economy. Artists’ projects by Martha Rosler, Cassie Thornton, Zachary Formwalt, and Michael Najjar challenge audiences to rethink the invisible networks of debt and exchange by creating new visual vocabularies for ‘seeing’ debt. The emergence of activist groups, such as Liberate Tate, has also signaled renewed interest in the ethics of corporate sponsorships, museums, and environmental issues. A heightened awareness of the ethical dimensions of debt and global support for activist movements may contribute to new notions of citizenship and performative democracy that can incite individual and collective renegotiations of how we might critically rethink debt.

Attending to the peculiar significance of finance(s) and the financier in Old Regime France, this article analyzes narratives that rehabilitate both, circa 1740-1755, in their political, social and biographical contexts. Positive representations are not thought to have been common. Yet following the Law debacle, restoration of traditional court finance resulted in effective administrative practices, universalizing policies and opportunities for merit, combined with money, to drive advancement, competing with hereditary privilege. Across genres, Charles Pinot-Duclos and Charles de Fieux, the Chevalier de Mouhy, depicted how upstart elites enact virtue, philanthropy and patriotism through finance. Their depictions reflected State policies and served common interests of writers and their protectors and patrons. Yet by emphasizing tensions in mid-century society, their texts also challenged readers to reflect critically on relations among finance, politics, society and indebtedness, anticipating a later focus on political economy as such. For today's readers grappling with dilemmas of modern finance, society and obligation, they provide provocative precedents.

This article examines the implications of the financialization of social impact and the emerging social impact bonds (SIBs) market for socially engaged art practices. How do SIBs, which allow for investment in social impact metrics, shift the broader contexts through which the value of social impact is understood in art discourses? In the British context, recent projects by Assemble, Open School East and others do important social work, yet echo the logic of the social investment market by outsourcing social impact. Rather than dismissing socially engaged art initiatives as having been recuperated by financialized capitalism, I suggest the need to develop new ways of achieving a double reading of these works as they relate to - and upset the distinctions between - stakeholder and bondholder valuation.

This article investigates the role of the European Central Bank (ECB) in transferring financial and moral responsibility for the Eurozone crisis from the private to the public sector. Focusing on Greece, I argue that the ECB constructed the morality of the public debtor in such a way as to make this transfer of responsibility easier and the imposition of austerity measures justifiable. This in part relied on a shift in the ECB's discourse, which came to define the crisis exclusively in terms of public sector responsibility. However, the ECB also employed a range of non-linguistic policy measures aimed at intervening in the crisis. To interpret these measures I draw on Deleuze and Guattari's concept of ‘machinic enslavement’, arguing that the ECB contributed to the Greek crisis not only by defining it discursively but also by reshaping the country's financial infrastructure in crucial ways.

This essay identifies two approaches to theorizing the relationship between financialization and contemporary art. The first departs from an analysis of how market logics in non-financial spheres are being transformed to facilitate financial circulation; the other considers valuation practices in financial markets (and those related to derivative instruments in particular) from a socio-cultural perspective. According to the first approach, the contemporary art market is in theory a hostile environment for financialization, although new practices are emerging that are increasing its integration with the financial sphere. The second approach identifies socio-cultural similarities between the logics by which value is extracted, amplified, and distributed through derivative instruments and contemporary art. The two approaches present a discrepancy: on the one hand, contemporary art functions as an impediment to outright financialization because of market opacity; on the other, contemporary art represents a socio-cultural analog to derivative instruments. The essay concludes by setting out the terms for a more holistic understanding of contemporary art's relationship to financialization, which would enable an integration of its economic and socio-cultural dimensions.

This article develops a pragmatic theory of finance in which markets are considered to be centres of communicative action in the face of uncertainty. This contrasts with the conventional approach that portrays markets as centres of strategic action in the face of scarcity. The argument follows Habermas and entails that a financial market must address the truthfulness, truth, and rightness of the statements made by its participants (i.e., the prices quoted). I claim that these discursive norms have been implicit in historical financial markets as expressed in the norms of sincerity, reciprocity, and charity. I conclude by proposing that ‘trust’ in commerce is a synthesis of the three discursive norms. The motivation of the article is to address the crisis of legitimacy that the financial system is experiencing, particularly in the United Kingdom (UK) and the United States (US).

In this essay we propose a reframing of the Bloomberg Terminal, an interface used to track financial trades and values, by using it as a creative, critical and curatorial device to explore the relationship between the art and finance. To contextualise this approach, we offer a history of the Bloomberg Terminal alongside an analysis of the power of interfaces to shape both the user and the represented information. We use the terminal as a way to critique the relationship between art acquisition and financial trading companies. We then describe some outcomes of a series of workshops themed around the idea of ‘building an alternative Bloomberg’. We conclude by offering some potential applications of a re-framed Bloomberg Terminal as an open and modular interface for engaging with issues around art and finance, both in terms of content and curation.

The documentary film Habilito: Debt for Life provides a case study of the conflicts and tensions that arise at the point of contact between highland migrants and Mosetenes, members of an indigenous community in the Bolivian Amazon. It focuses particularly on a system of debt peonage known locally as ‘habilito’. This system is used throughout the Bolivian lowlands, and much of the rest of the Amazon basin, to secure labor in remote areas. Timber merchants advance market goods to Mosetenes at inflated prices, in exchange for tropical hardwood timber. When it comes time to settle accounts, the indebted person often finds that the wood he has cut does not meet his debt obligation, and he has to borrow more money to return to the forest to continue logging. This permanent cycle of debt permits actors from outside these indigenous communities to maintain control over the extraction of wood and provides them with a free source of labor in the exploitation of timber resources. This system is practiced especially in remote areas where systems of patronage predominate, and where colonists with a market-based economic logic come into contact with Amazonian indigenous peoples who, historically, have not employed an economic logic of saving or hoarding.

Clare McAndrew is a leading analyst of the global art market. Here the guest editors of this special issue interview McAndrew on the structures of the art market, its sectorial and regional arrangements, and transformations in its historical, technical, and monetary operation. Their discussion highlights the rapid increase in prices for art and the global extension of the art market since the early-to-mid 2000s, as well as further changes to its operation wrought by the rise of online trading in the early 2010s.

The documentary film Habilito: Debt for Life provides a case study of the conflicts and tensions that arise at the point of contact between highland migrants and Mosetenes, members of an indigenous community in the Bolivian Amazon.

João Enxuto and Erica Love are artists and writers living in New York City. Their writing has appeared in Art in America, Mousse Contemporary Art Magazine, Wired, and X-TRA Contemporary Art Quarterly. They have given talks and exhibited work at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, Yossi Milo Gallery, Carriage Trade, Louisiana Museum in Denmark, ArtCenter/South Florida, and the Tamayo Museum in Mexico City.

2K-single channel video, colour, 2.1 sound, 4:49 min., 2016. Video and audio: Eckermann/Text: Nestler. Sylvia Eckermann is an Austrian artist whose critical reflections engage with our (in)dividual entanglement in socio-political situations. Eckermann works with various media including digital and physical environments, game mods, installations, videos, objects and sculptures. Her work has been shown internationally since 1989. Among other grants and awards, she is the first recipient of the City of Vienna Award for Media Art (2014). Gerald Nestler is an artist and writer (and sometimes curator) who combines theory and conversation with installation, performance, video, sound, text and speech to explore what he calls the 'derivative condition' of contemporary life