February 9-10
Mexico City
Ayarkut Talks
Economy Models in Contemporary Art
February 9-10
Mexico City
Ayarkut Talks
Alternative Economy
Models in Contemporary Art
The inaugural event hosted by Ayarkut will delve into the economics of contemporary art and explore practices of commoning, radical economies, and fictitious currencies, as well as the complex relationship between money and ethics. Co-curated by Terremoto and PAC, the two-day program will feature distinguished international and Mexican artists, curators, and scholars
co-curated by
february 9
A series of talks around the fictional, symbolic and cold hard economics of contemporary art
February, 9
Day 1
Co-curated by Terromoto, the first day of Alternative Economy Models in Contemporary Art, is a series of panel discussions and conversations around the fictional, symbolic and cold hard economics of contemporary art. Taking as a standpoint the volatility, dynamism, melting and evaporation of some of our economical constructs as well as the momentum of the capital and its failures, the program aims to imagine alternatives related to commoning practices, radical economies and fictitious currencies as well as to question the relationship between money, ethics, speculation and fetish. How can art navigate in a fluid economy where capital originates, distributes and fluctuates constantly? Is it possible to share resources under a neoliberal system? How may we develop a healthier relationship to the art system, one not defined by competition but cooperation?
co-curated by TERREMOTO
eng & esP
simultaneous translation
Speakers & Moderators
Speakers & Moderators
Panel Discussion / eng
I. Commoning: economic experiments and microeconomics based on collective share, surplus and labor
ruangrupa [Indonesia]
Colectivo Amasijo [Mexico]
Interspecifics [Mexico]
ruangrupa (Indonesia, 2000) is a Jakarta-based collective established in 2000. Its nine members were selected last year as the curator of the 15th edition of documenta in Kassel, which is set to take place in 2022. Here, the collective discusses what it’s like to organize a major contemporary art exhibition at a time of unprecedented change.
Created in 2016 in Mexico City, Colectivo Amasijo is comprised of women of different professions and from different parts of Mexico. The collective rises from the will to care, conserve, and celebrate. Creating the conditions to actively reflect on the origin and diversity of food, de-hierarchizing knowledge and focusing on the “doings” (haceres) as a way of learning.
Helena Lugo is an art historian, researcher and curator. Lugo is also co-founder of the collective Palmera Ardiendo and has collaborated with Mexico City’s Salón ACME. She is also an executive director of Terremoto, magazine and publishing house dedicated to critical thinking around contemporary art in the Americas.
Three art collectives dialogue around their strategies for creating commoning practices using experimental economies, collective cooking, multispecies dialogues, cooperation, DIY and other hybridized practices in order to question the culture of scarcity rooted in colonialism, capitalism, and patriarchal structures.
Helena Lugo [Mexico]
All day February 9
16:00 — 17:20
Interspecifics is a multispecies nomad collective and independent artistic research bureau founded in Mexico City in 2013. Their current lines of research are focused on the use of sound and Artificial Intelligence to understand the bioelectrical and chemical signals of different living organisms and its geometrical patterns as a nonhuman form of communication.
17:30 — 18:20
Panel Discussion / ENG
Digital technology has left no aspect of human experience untouched: our data has been commodified, our labor monitored, our attention monetized. How is this impacting today’s art collections? How do we take care and preserve our digital archives? This conversation addresses the inherent paradox within a capitalist system that is both dependent upon technological progress and menaced by it. The aesthetics, contradictions, scarcities, absurdities and ethical questions around the economic relationships of production and exchange within internet-based practices, crypto-currencies and other technologies within the art system.
Doreen A. Ríos (Mexico) is an independent curator and researcher. Her work focuses on digital art, post-digital practices and new materialities. Founder and director of [ANTI]MATERIA, an online platform dedicated to the research and exhibition of art produced through digital media. She was chief curator at Centro de Cultura Digital from 2019 to 2021. Doreen graduated with a Masters in Contemporary Curating from Winchester School of Arts, specializing in digital cultures, and with a degree in Architecture from the Tec de Monterrey.
Wade Wallerstein (USA) is a digital anthropologist, strategist and curator from the Bay Area. He is the founder of Silicon Valet, co-director of TRANSFER Gallery, and Associate Curator & Community Manager at Gray Area Foundation for the Arts. With a background working in both fine arts and policy, he is an expert in digital/internet art, virtual phenomenology, online environments, tech policy, human-centered tech, & digital ethnographic methods.

II. Fetish, Value, Care: Art and the Economics of the Digital Age
Wade Wallerstein [USA]
Doreen A. Ríos [Mexico]
Anna Evtiugina [USA]
Anna Evtiugina (USA) is a curator and cultural entrepreneur. She is a co-founder of ipureland.art, New York-based creative studio producing XR art projects and supporting sustainability of art organizations through curatorial advisory, strategic partnerships, and professional development. Currently Anna is also the head of partnerships at Ayarkut.
All day February 9
18:30 — 20:00
Adrian de Banville works since 2019 as Associate Director of Development at Terremoto, the leading bilingual media focusing on contemporary art in the Americas. At Terremoto, Adrian oversees the strategic development of the not-for-profit Civil Association’s social and financial capital, as well as all external relations. Adrian has worked in different cultural organizations and projects in France, the United States and Panama.
Adrian de Banville [France / Panama]
Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including actions, installations, net art, video and photography. He uses media and technology devices as well as objects belonging to people's daily lives, decontextualizing them and trying to force viewers to think about their routines and preconceptions.
Panel Discussion / ESP
Artists doing worldbuilding have created imaginary societies, fictitious economies, made up currencies and other fake institutions to research different ways for the capital to circulate, distribute or engage with society. Whether from an ironic, whimsical or critical perspective, this talk tackles the possibilities of art to create other economic systems and values, that defy, resist and challenge our current social, political and economic inequalities.
Fritzia Irízar is a Mexican artist. She has participated in the Mercosur Biennial in Porto Alegre, the FEMSA Biennial, and group exhibitions at CA2M; CIFO Fontanals Cisneros Foundation, Miami; Giorgio Cini Foundation, Venice; the Museo de San Ildefonso, Mexico; and the Banco Santander Foundation in Madrid.
Jota Izquierdo is a Spanish artist who lives and works in Mexico City. His work focuses on long-term artistic research that formalizes on essays, archives, mapping, documentary videos, and installations.
Jota Izquierdo [Mexico]
Fritzia Irízar [Mexico]
Gustavo Romano [Spain]
III. Fictitious Economies and Radical Economic Practices of the Everyday Life
All day February 9
eng & es
simultaneous translation
February, 10
Day 2
co-curated by PAC
Co-curated by PAC, the second day of Alternative Economy Models in Contemporary Art, will focus on projects that have resorted to organizational models, knowledge and understandings that allow to delineate horizons different from those of the neoliberal global logic.

Conceived from localization policies, from community, collaborative, indigenous, contextual approaches, and radical pedagogies, these propose alternative paths to those that we have believed to be unique.

As international events such as documenta fifteen, directed by the Indonesian collective Ruangrupa, have made visible, these are practices conceived from a diversity of understandings and ways of doing things in the world that, contrary to what a colonial perspective claims, have always been contemporary.
Speakers & Moderators
Speakers & Moderators
Panel Discussion / ESP
I. Artistic Practices that Go Beyond Models: Inside, Outside, Negotiating with the System
Jaime Ruíz Lugar Común [Oaxaca, MX]
BRUMA Laboratoria [Mexico]
Arte 360 [Mexico]
Jaime Ruiz Martinez is co-founder of Lugar Común, an artistic initiative that promotes neighborhood participation and the production of public spaces in Pueblo Nuevo Oaxaca. His artistic practice has been developed at the intersection of participation, pedagogy and the visual arts.
coming soon
Art historian and communicologist. Christian was part of the curatorial team for Maps under Construction. Public Collections of Contemporary Art, 2009-2017 in La Tallera (Cuernavaca, Mexico). Since 2017, his main activity has been as content coordinator for the Patronato de Arte Contemporáneo, A.C.
The projects gathered in this panel are characterized by arising, in all their conception and in the ways of their exchanges, to organizational references that go beyond those of capitalism in Western modernity. They also turn to thought models that have questioned said system. Through their practices, all of them collaborative and that appeal to experiences from other frameworks, they open spaces for reflection and artistic practices that escape an individualistic understanding of art that is conceived solely as the production of objects for a capitalist market. Located in Oaxaca, Lugar común appeals to tequio's modes of collective organization; In dialogue with the feminist methodology of situated knowledge and the tradition of activist political participation in Veracruz, BRUMA Laboratoria investigates an art history in a decentered way; while the community organization Arte a 360 disseminates and promotes contemporary art in the state of Tlaxcala, while raising issues related to the defense of the territory and the Nahuatl language.
Christian Goméz [Mexico]
All day February 10
12:00 — 13:20
coming soon
Panel Discussion / ENG
II. An Infinite Horizon: Building Projects from Other Imaginaries
Laura Cortés SOMA [CDMX]
Andrea Torreblanca Common places [Mx]
María Paola Malavasi Lachner TEOR/ética [Cri]
Laura Cortés Hesselbach is an art historian with more than ten years of experience in cultural management. She is currently the director of SOMA, a non-profit organization dedicated to cultural exchange and artistic education in Mexico City. Throughout her career, Laura has specialized in the development of public programs, artistic residencies, strategic alliances, and international partnerships for the strengthening of arts education, as well as fundraising strategies in the sector of civil society organizations.
Сurator from Mexico. In 2018, Torreblanca was appointed Director of Curatorial Projects at INSITE, where, among other initiatives, she founded and is the editor-in-chief of the INSITE Journal, and for which she recently conceived Commonplaces, a curatorial platform to be developed in Lima, Peru, Johannesburg, South Africa, and the border region between Baja California (MX) and San Diego, California (US).
Carmen Cebreros Urzaiz. Curator and scholar based in CDMX. She holds a PhD in Culture and Performance (UCLA). Her research fields include museum studies, artistic communities, and institutional history.
In this panel, we propose a space for reflection between representatives of projects that have been built as alternatives to conventional institutions and prevailing models. After reaching the objective of establishing itself, how to continue? How to sustain the energy? How to allow the projects to continue transforming to respond, in the same critical and divergent way, to the new challenges they face? What economic and ethical challenges does sustaining spaces that guarantee freedom of experimentation entail?

The first invited to this panel is SOMA, an independent space that emerged to offer a study program with a postgraduate level, but which has chosen not to be official, to maintain the freedom of artistic and pedagogical experimentation. On the other hand, Common places is the new program of the inSITE platform, with activities in Baja California, Peru and South Africa; here we seek to highlight how an internationally recognized project within a globalized contemporary art discourse opts for a radical look at the local and contextual, and to emphasize the ability of a recognized project to reinvent itself. Finally, TEOR/ética, a space for reflection and exhibition of contemporary artistic practices in Costa Rica, and its ability to sustain energy, financing, and vocation in an independent and non-profit project.
Carmen Cebreros [Mx]
Cultural manager and curator, interested in artistic management practices, collective education processes, and institutional critique. She is currently one of three Co-directors in TEOR/éTica, an independent contemporary art space, located in San José, Costa Rica.
All day February 10
13:30 — 15:00
Ayarkut is an international cultural organization honoring the voices of artists who respond to the social and political challenges of our time. We see contemporary art as a catalyst for changing the world.
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