Billionairism

The first great 21st century art movement

Signatories of the Billionairist Manifesto

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1. Maximilian Louxe

An enigmatic artist whose works include the ashes of his own stock certificates suspended in jelly. Once auctioned his own private jet as “performance art,” earning $100 million in resale fees.

2. Claudia St. Fontaine

Creator of Liquidity Eternal and self-proclaimed “priestess of perpetual wealth.” Known for embedding diamonds into seemingly mundane objects, like traffic cones and frisbees.

3. Otto Von Chrome

The mind behind The Wheel of Fortune, Von Chrome merges industrial engineering with jaw-dropping luxury, creating kinetic sculptures that could bankrupt small nations.

4. Aurelius van Goppe

Famous for artworks like Infinity Dividend and sculptures made from melted Fabergé eggs. Claims to “convert capital into immortality” with his gaudy, gilded installations.

5. Belladonna Versailles

Known for satirical—but somehow earnest—pieces like The Velvet Tax Bracket, a literal velvet rope that sold for $25 million. Descended from French nobility, spending her family fortune was “too boring,” so she became an artist.

6. Sebastian Zaitsev

A former crypto tycoon who pivoted to Billionairism. Creator of The Emperor’s NFT, he insists his work “elevates blockchain into a new paradigm of cultural irrelevance.”

7. Genevieve Palladium

Famed for her destructive processes, such as dismantling luxury cars to reconstruct them as art. Her Lamborghini Shard Series set auction records—and set fire to her critics’ sanity.

8. Baron Cosimo Elan

“The Banker of Baroque” – Known for turning financial objects—like rare coins and share certificates—into over-the-top installations. His Gold Brick Sonata involves 400 literal gold bricks, each embedded with a miniature speaker playing Bach.

9. Titania Westwood

An eccentric sculptor whose works combine rare materials with ostentatious absurdity, like chandeliers made from champagne bottles emptied at her own parties. Famous for saying, “If it’s not wasteful, is it even art?”

The Billionairist Manifesto – the 21st Century Art Movement

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By The Consortium for Infinite Value in Art

1. The Age of Aesthetic Poverty is Over

We declare that art has no higher calling than to elevate wealth itself. In an era where the poor cling to meaning and the middle class calls for relatability, we, the Billionairists, proudly proclaim: beauty is dead—long live the price tag. Art is no longer about the tediousness of what you feel but the joy of what you can afford.

2. Art Shall Be the Playground of the Elite

True creativity is forged in the crucible of excess. A starving artist creates paintings; a Billionairist creates bidding wars. We reject the dull utilitarianism of relatable art and embrace the unapologetic ecstasy of the unattainable. If everyone can understand it, we have failed.

3. The Medium is Wealth

We sculpt with Lamborghinis. We paint with liquid platinum. We compose symphonies of yacht horns echoing across private archipelagos. We reject the notion that art must fit on a wall or in a museum—it belongs wherever it cannot be reached. The museum is a prison for art. This will no longer do. We build penthouses for art.

4. Outrage is a Currency

To the masses who weep and gnash their teeth at our opulence: we hear you, and we monetize you. Your outrage fuels the engine of our artistic genius. Every viral tweet criticizing our $500 million diamond-encrusted treadmill installation is part of the performance. The critics are the chorus to our opera.

5. Value Over Vision

We believe the price is the art. The higher the price, the greater the work. A canvas worth $100 million is not 10 times better than a $10 million piece—it is 10 million times better. This is not theory; it is the new maths.

6. Destroy to Create

Billionairism demands we obliterate the old to build the new. We will shred Monet’s lilies and reassemble them into private helipad mosaics. We will melt Rodin’s bronzes and recast them as doorstops for Swiss chalets. Creation is destruction, and destruction is a tax write-off.

7. Art Shall Be Fluid (and Preferably Liquid)

We reject permanence. Our works must evolve, decay, or disappear entirely, like wealth slipping through unworthy fingers. Installations will require constant maintenance; sculptures will oxidize without costly preservation. Art should be a financial liability, not a cultural one.

8. Exclusivity is the Apex of Creativity

A Billionairist work must be rare—no, singular. It must inspire jealousy, not joy. If more than 10 people can see it at once, has it failed? If more than ten people could afford it, is it a crime against art?

9. Critics are Welcome (At a Price)

We invite critique, provided it comes from voices worth hearing. (And by “worth,” we mean net worth.) The opinions of those who do not buy our works are irrelevant—they are mere echoes in the void.

10. The Future Belongs to Us

We are the arbiters of value, the gods of gilded absurdity, the masters of hyper-excess. The poor will ponder, the critics will fume, and the middle class will gawk. But we, the Billionairists, will shape the future of art—one obscenely expensive masterpiece at a time.

Let the masses have their memes and their murals. We have rotating gold-plated Porsche Ferris wheels and a martini fountain that costs more than your city block.

Signed, with Champagne stains,

The Billionairists

Billionairism: Where the Canvas is Price and Aesthetics Are Optional

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In the shimmering halls of today’s art world, a new movement has emerged that unapologetically rejects the constraints of conventional beauty and meaning. Billionairism, the art movement of the elite, has redefined the purpose of art itself: the higher the price tag, the more profound the masterpiece. Forget aesthetics or social critique; Billionairism celebrates wealth as the ultimate creative force.

A Portfolio of Priceless Excess

Among the movement’s most talked-about works is The Stock Market Serenade by Helena Roth-Smythe, a “living” installation featuring screens displaying live stock market fluctuations framed by platinum leaf and diamonds. Sold at auction for a jaw-dropping $130 million, it is less an artwork and more an emblem of billionairism’s ethos: art is value itself, as determined by the wealthiest bidders.

Similarly, Klaus Doff’s Monument to Infinite Growth shocked the art world with its audacious simplicity. This sculpture—a literal gold-plated ladder, 60 feet tall—was sold for $200 million and installed at the penthouse of a luxury Dubai skyscraper. Its minimalist concept screams “climb higher,” but insiders agree: the price tag is the true artwork.

The Price as the Point

The hallmark of billionairism is its relentless focus on cost over content. Why paint an evocative landscape or sculpt a human form when a blank platinum canvas titled Untitled (Tax Haven) by avant-garde provocateur Marco V. fetched $75 million? The piece, made of nothing but polished platinum and the artist’s signature, epitomizes the movement’s belief that art need not carry meaning—just heft in value.

“The art is not what you see,” Marco V. declared in a rare interview. “The art is what you pay to see it. True creativity lies in the bidding war.”

A Movement for the Few (and the Rest of Us to Watch)

Critics argue that Billionairism is less about artistic merit and more about turning the art market into an exclusive playground for oligarchs and billionaires. Yet, supporters maintain that this is precisely its brilliance. “Who needs aesthetics when you have exclusivity?” asked Hoey’s Billionairism curator, Christine Maltravers. “The act of pricing art at unimaginable levels creates its own aura of mystique and power.”

Take, for example, Eternal ROI, a piece by Ezra Monet (no relation), which is a single solid block of rare Burmese ruby inscribed with the words “Worth It” in 24-karat gold. At $400 million, it set the record for the most expensive “functional sculpture” after being used as a paperweight in a private yacht.

Why You Should (Want to) Join Billionairism

Billionairism has made art less about what it represents and more about what it represents you own. In this movement, art collectors don’t seek beauty—they seek dominance. The acquisition of a Billionairism piece is a public proclamation: “I can afford what you cannot even comprehend.”

It’s no surprise that billionaire tech mogul Xander Vance built his latest venture capital office around The Algorithm’s Throne, an LED-covered chair embedded with Bitcoin chips, valued at $320 million. Employees never sit on it, but as Vance famously said, “It reminds us every day that value is perception.”

Billionairism for the Masses? Not Quite.

While the average person may never own a Billionairism masterpiece, the movement’s sheer audacity has left its mark on the cultural zeitgeist. Instagram influencers pose with Billionairism works at galleries, while finance bros daydream about one day owning Fiscal Nirvana, a billion-dollar work rumored to be made entirely out of rare earth metals and shredded luxury brand receipts.

Billionairism is not just an art movement—it’s a lifestyle, a spectacle, and an assertion of dominance. In this gilded world, price transcends aesthetics, and wealth becomes the ultimate brushstroke. As Roth-Smythe once quipped, “Billionairism is not about creating art—it’s about creating envy.”

Billionairism – the best art -ism since Impressionism?

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In the ever-evolving panorama of contemporary art, a provocative and opulent movement has emerged: Billionairism. This avant-garde trend audaciously melds the extravagance of wealth with the profundity of artistic expression, creating a spectacle that is as much about opulence as it is about art.

Defining Billionairism

Billionairism is characterized by its grandiose scale, lavish materials, and themes that oscillate between satire and homage to affluence. Artists within this movement employ a visual lexicon replete with symbols of luxury—yachts, private jets, and exclusive commodities—rendered in mediums ranging from gilded canvases to diamond-encrusted sculptures. The movement serves as both a mirror and a magnifying glass, reflecting society’s fascination with wealth while scrutinizing its impact on culture and values.

Iconic Artworks of Billionairism

One of the seminal pieces epitomizing Billionairism is The Golden Paradox by the enigmatic artist known as QWERTY. This installation features a life-sized, 24-karat gold-plated Ferris wheel, each carriage occupied by intricately crafted figures representing the ultra-wealthy. The work juxtaposes the cyclical nature of amusement with the perpetual pursuit of wealth, inviting viewers to ponder the true cost of luxury.

Another noteworthy contribution is Opulence Revisited by the duo Gild & Gilt. This mixed-media piece incorporates shredded stock certificates and crushed gemstones, encapsulated in resin to form a mosaic of a burning dollar sign. The artwork serves as a poignant commentary on the volatility of wealth and the ephemeral nature of material possessions.

The Satirical Undertones

While Billionairism dazzles with its display of affluence, it is deeply rooted in satire. The movement echoes the irreverence of Pop Art, much like Roy Lichtenstein’s works that left interpretation up to the viewer, often ridiculing the subjects they portrayed.  Similarly, Billionairism challenges the audience to discern whether it glorifies wealth or critiques its excesses, thereby engaging viewers in a dialogue about societal values.

Becoming Part of the Movement

To immerse oneself in Billionairism is to engage with art that is as thought-provoking as it is visually stunning. Collectors and enthusiasts are drawn to its audacious commentary and the exclusivity it represents. Acquiring a piece from this movement is not merely a purchase but an entry into a discourse on wealth, power, and art’s role in reflecting and shaping societal norms.

In a world where the lines between art and affluence continue to blur, Billionairism stands as a testament to the enduring power of art to provoke, challenge, and inspire.