Bitcoin Magazine The Undercurrent: Three European Artists on Making Money Visible

Amsterdam helped lay the foundations of modern finance, but its artists were among its earliest critics. When speculative bubbles burst across Europe in 1720, Amsterdam printers and satirists responded with The Great Mirror of Folly , a collection of engravings and plays exposing the excesses of financial speculation.

Nearly three centuries later, the city hosted another monetary experiment. David Chaum, the cryptographer whose work on anonymous communication helped lay the groundwork for the cypherpunk movement, came to Amsterdam in the 1980s to work at CWI, the Dutch national research institute for mathematics and computer science. Around 1990, he founded DigiCash to develop private electronic cash. The company went bankrupt in 1998, a decade before bitcoin, but the dream of digital money was already taking shape.

Last year at Bitcoin Amsterdam, BMAG exhibited The Waterworks of Money , in which Dutch artist Carlijn Kingma, working with financial journalist Thomas Bollen and researcher Martijn Jeroen van der Linden, depicted the monetary system as a vast irrigation network, with some areas flooded by liquidity while others remain dry. The drawing makes a complex financial system legible, exposing the mechanisms through which money is created, distributed, and concentrated.

This tradition of questioning money and making its hidden dimensions visible continues in the work of three European artists exhibiting at Bitcoin Amsterdam this November. ZETRA, RYR, and Cypherpunk Now draw from graffiti, political printmaking, hacker culture, and early bitcoin communities to explore the changing meaning of money.

Martin Fischer joined the Prague art collective Ztohoven in 2003, a group known for inserting a fictional nuclear explosion into a live Czech Television broadcast. In 2014, the collective opened Paralelní Polis, a hackerspace whose café accepted only bitcoin, and Fischer designed its logo. As he told Bitcoin Magazine’s Aaron van Wirdum in 2020, the arrival of a screen-printing press the following year prompted him to produce his first prints. Since 2020, he has worked under the name Cypherpunk Now, developing a visual record of bitcoin’s evolving culture.

RYR and ZETRA both emerged from Germany’s graffiti scene but approach money from different directions. RYR uses currency itself as material, making paper from shredded banknotes, pigment from their ashes, and concrete grenades filled with shredded cash that he calls “artifacts from the future.” ZETRA, who began painting in the early 1990s and discovered bitcoin in 2017, examines what money can buy. His TOMATOSOUP paintings revisit Andy Warhol’s iconic Campbell’s Soup Cans to chart changing prices in dollars and bitcoin, while THE BIP39 SERIES explores the 2,048 words used in bitcoin wallet recovery phrases, including 1206/NOTE , a collaboration with Polymerbit.

Bitcoin has shaped these artists’ practices, their livelihoods, and the communities around them. Its growing acceptance by banks, investment funds, and corporations has also prompted some difficult questions about the movement’s original ideals and where its culture is heading.