TERREMOTO / SPRING 2020
NO MONEY NO PROBLEM
We have arrived at the end of the second decade of the millennium, over the course of which the system of contemporary art continued its global boom and expansion parallel to that of neoliberalism. Out of the proliferation of art fairs, biennials, museums, galleries as well as self-directed spaces aspiring to gain autonomy from such institutions, a dialogue of unprecedented breadth has emerged, made possible in large part by the explosion of the Internet and social media. While the democratization of knowledge has benefitted the artistic trade, the consolidation of a system whose supporting structure—caught between the local and the global—perpetuates, feeds, and fortifies the capitalist logic of exploitation, abuse, and profit, has not been averted.