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Editorial
Our Swiss Issue is a field study on art and the art market. It has been made at the introduction of the Kunsthaus Zurich for the exhibition Shifting Identities. It has been some six months in gestation and has involved the efforts of approximately fifty people. We spent four months on fieldwork and collecting material, and two months organising and processing it. We have compiled the magazine as if it were a documentary film: with portraits, various voices and images.There is an Export edition and a Domestic edition, the latter of which is distinguished by its double cover and can be used as an entry ticket for the Kunsthaus Zurich.
We have attempted to understand how the system behind art works, and have looked critically at the role of the market. We have quickly come to understand that the market is effective for only approximately 3 to 5 per cent of artists. But how do you decide who will make it to the top? Nobody is really willing to make a declaration about quality, and many leave this distinction to market forces. It was for this reason that we felt it necessary to look for an other model, a possible alternative way. We had one question that we wished to pose to everyone: do you think the current hierarchical model works? And this usually led to a second question: is it possible to conceive another model?
The true artist helps the world by revealing mystic truths.
In the final pages of her book Hype! Kunst und Markt, Piroschka Dossi uses this quote from Bruce Nauman as an introduction to take the whole matter to a further level, stating: ‘But the art market today sends out another message as well, with the phenomena of speculation and hype taking their toll in the larger context of global social upheaval. The growing gap in prices, the erosion of the centre and the concentration of the market on only a few winners pinpoint a development, as if through a magnifying glass, that may well become a hotspot in the years ahead: the escalation of inequality in our society.’

^Rob Hamelijnck & Nienke Terpsma, editors of Fucking Good Art / May 2008

What Life Could Be by Michael Baers and the artists and editors of Fucking Good Art - Rob Hamelijnck and Nienke Terpsma. A Meta-Comic – a critical graphic essay.
















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This issue is published by edition fink, Zurich; post editions, Rotterdam; and Fucking Good Art. A few copies of this issue (export edition) are for sale at post editions.


Colophon
Fucking Good Art HQ – Rotterdam / Berlin
Editors and concept: Rob Hamelijnck / Nienke Terpsma
Publisher(s): episode / edition fink / Fucking Good Art
Design: Nienke Terpsma / Janna Meeus
280 pages / 147x210 mm / softcover
English / German Edition
June 2008

ISBN domestic edition: 978-3-03746-129-7
ISBN export edition: 978-90-5973-087-8

texts / articles
Karen Wright
Piroschka Dossi
Anders Petterson
Barbara Basting
Ilona Genoni
Dora Imhof
Thibaut de Ruyter
So:ren
Peter Stoffel
Jo Maier
Rob Hamelijnck
Nienke Terpsma

conversations
Frank Hyde-Antwi
Daniel Baumann
Esther Eppstein
Wenzel A.Haller
Oliver Kielmayer
Henry Levy
Rein Wolfs
Daniel Suter
Harald Szeemann
Adam Szymczyk
Andrea Thal
Annina Zimmermann
Jörg Zintzmeyer

guide
List of 73 Swiss independent artist / curator - run spaces for contemporary art

map A.I.R Switzerland

meta comic
What Life Could Be / by Michael Baers, in collaboration with Rob Hamelijnck and Nienke Terpsma

artist contribution
Thomas Hirschhorn
Lutz&Guggisberg
Relax
Serge Spitzer
Felix Stephan Huber
Till Velten
Fabio Marco Pirovino
Karen Weinert
Anna Katharina Scheidegger
San Keller
Dagmar Heppner
Stefan Burger
Hans Rudolf Ambauen
Ganzblum
Heinrich Gartentor
Batia Suter
Showroom

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