What you need to know before we talk.

Daleki Art is a conceptual art movement and a curatorial fund. It connects works by emerging and established artists with companies and institutions that support culture in Quito and show those works in their spaces for a season.

It is the collection Daleki Art brings together so the works can circulate. Each work enters with a public record (artist, year, medium, dimensions and the country where it was acquired) and stays in our care as it moves from one space to the next. It is an art collection: it offers no shares, no returns and no financial product of any kind.

Each acquisition trip opens a chapter. Chapter 01 took place in Colombia and brings together six works by six artists. A chapter's country tells you where the work was acquired; each artist's nationality appears separately on their page. The routes we are exploring are not offices or chapters until the fund acquires work there.

Quito 2026 is the first stage of Daleki Art's curatorial program. It brings together the fund's six works, all acquired in Colombia on the first trip (Chapter 01), by Adriana Duque, Maria Fernanda Cardoso, Daniel Nyström, Alejandro Sánchez, Camilo Echeverri and Rosana Escobar.

In the digital museum on this site, which walks through Room 01 in 3D and also has a still version with every record, and in the spaces of the companies and institutions that host them during their season. Daleki Art has no room of its own open to the public.

Daleki Art was born in Quito. It is a brand of D-Legacy SAS, an Ecuadorian company, and part of Daleki Global. The curatorial team visits studios, studies each work and stays with the institutions throughout the season.

We look at the strength of the idea, the consistency of the practice, the relationship between the work and its context, its conservation and the conversation it can open outside the traditional art circuit.

Through cultural sponsorship. Daleki Art studies the space, proposes a curatorial selection, coordinates the installation and stays with the work for a season of 3, 6, 9 or 12 months.

It receives a curatorial proposal for its space, a work from the fund that lives there for a season, logistics coordination, professional installation, a condition report and our support throughout the agreed season.

Seasons run 3, 6, 9 or 12 months. The proposal sets the length based on the scope of support, the work, the space, availability and conservation conditions.

Yes, together with the curatorial team. The proposal starts from your space, its architecture and the conversation your organization wants to open. From there we select available works from the fund and decide with you which one lives there for the season.

Yes. Daleki Art coordinates transport, professional installation, the condition report, follow-up visits and the removal or rotation of the work when the season ends.

Offices, boardrooms, lobbies, hotels, educational institutions, foundations and other spaces with the right conditions for security, conservation and access.

A secure spot with controlled access, out of direct sunlight and away from sources of humidity or heat. We review it with your team before the proposal and record it in the condition report.

With a curatorial conversation. Write to us through the contact form or on WhatsApp and tell us about your space in Quito and the season you have in mind. We reply within 24 to 48 hours.

Yes. Works from the fund can be acquired. Beyond the institutional program, where they spend seasons with companies and institutions, we talk with anyone who wants to add a piece to their collection. Write to us and we will share the story and availability of the work you have in mind.

Every work in the fund has a public record with the artist, their nationality, the country of acquisition, the year, the medium and the dimensions, plus context on the artist's practice. If a piece interests you, we tell you its full story in a conversation with the team.

No. We talk about works through their idea, their practice and their story. We don't give financial advice or appraisals, and we make no promise that a work will gain value over time.

Through the contact form, choosing “I'm an artist and want to present my work”. Include a link to your portfolio, a few lines on your research and the works you consider central. The team reviews every submission personally and replies within 5 to 10 days.

The same four criteria that shape the fund: idea, practice, context and care. When there is a fit, the next step is usually a studio visit, because that is where you understand how a work thinks.

The artist, or whoever the artist has assigned them to. A work joining the fund does not transfer its copyright. Daleki Art shows images of the works to share them culturally and always credits the artist.

Conceptual art is art in which the idea matters more than the finished object. The work can be an instruction, a document, a text or an everyday object placed in a new context, and it asks the viewer to complete it by thinking.

Contemporary art names a period: art made today and over the last decades of the twentieth century. Conceptual art names an attitude: putting the idea first. A great deal of contemporary art has conceptual roots, but not all of it does.

Not always. It can be an instruction, a text, an action or a document. Many conceptual works do have a carefully made material body; what matters is that the object serves the idea.

That reaction is part of the game. The execution is often simple on purpose. The work lies in the decision that turns a simple gesture into a question nobody had asked before, and in a practice that sustains that question over time.

It is the fund's Room 01 as a 3D walk you can take in your browser. If your device can't load 3D or you prefer less motion, the same room appears as a still image, with every work linked to its record.

It is the museum's automated assistant. It answers questions about the works, the artists and the program, and hands you over to the team when a person is needed. It can make mistakes, it does not promise dates or terms, and it doesn't replace a conversation with the team.

The photographs on the work records are the works in the fund. Some covers and scenes on the site are images generated with artificial intelligence to illustrate an idea; they are never presented as works from the fund or as real installations.

We use the data you give us to reply to you, or to send you the curatorial letter if you subscribe. We don't share it with third parties for advertising. The Privacy Policy explains what we keep, for how long and how to exercise your rights.

Every letter includes a one-click unsubscribe link. You can also write to dalekiart@gmail.com and we'll do it for you.