A letter from the founder.

This platform was not born from a fundraising strategy. It was born from an observation that became more urgent over the years: that culture, when it works with migration and memory, is one of the few infrastructures capable of sustaining belonging in fragmented societies. And that this infrastructure, in the case of the diasporas to which I belong, almost never exists.

I migrated to Barcelona in 2003. I was twenty-eight years old. I came from Venezuela, at a time when the country was going through one of its deepest moments of political polarization. I did not come to make art. I came to survive. But displacement, over time, changed what I understood by work, by home, by community, by country and, above all, by memory.

Over two decades, I observed three things with enough insistence for them to stop seeming accidental. First, that contemporary art produced in diaspora —especially Venezuelan, but not only Venezuelan— circulates with extraordinary difficulty outside the commercial circuits able to absorb it. Second, that migrant communities in cities such as Barcelona, New York or Caracas do not have cultural infrastructure that accompanies them in a sustained way, not as a target audience, but as a subject. And third, that the question of memory —what is preserved, what is processed, what is transmitted— is, for a diaspora, a political question as much as an artistic one.

Exodus & Resilience is the response I have been giving to those three observations over the years. A response that now, in 2026, is trying to become a platform.