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David Hinojosa

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founder of the ODBK


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The only way how I found to transgress the borders of art is through the deconstruction of the art market. The Art market has been pivotal in the writing of art history and in the definition of "good" and "bad" art and artists. My belief is that there are forces pressuring the art market change and Internet is playing a central role on it. In the artist’s career to become famous, the artwork and the person lose its matter, like any people in virtual environments. Nevertheless this particular dematerialization is a construction based on his prominence or prestige, the results of people's attention. "Attention by other people is the most irresistible drugs… This is also why it is becoming popular in our society to rank income in attention above money income"*

About Me

David Hinojosa Admann

Director and founder of the ODBK

Originally from Mexico, David Hinojosa Admann now lives and works in Berlin. With a background in computer science and marketing, Hinojosa Admann studied and obtained his MFA in Madrid 2003, and has since exhibited extensively throughout Europe and Central America. In 2005 he launched, a stock exchange for artists and an online art market simulator. This was shown at ARCO Madrid, in Arte Alameda and TransitioMX, and named one of the most influential electronic artists in Mexico. He worked as an advisor for Artfacts.Net developing the "artist ranking" and online tools for art collectors. In 2016 founded the Organization for the Democratization of the Visual Arts (ODBK) a activist organization whose objective is to insert a new economic model and reference for the art market, ODBK currently has more than 600

members from around the world. Hinojosa Admann’s practice ranges from traditional media, like drawing and painting, to multidisciplinary and media and artistic research. His projects address the relationship between conceptual art, commerce, and democratization of the contemporary art world. David Hinojosa Admann’s work critically, and sometimes humorously, reflect on the circumstantial phenomena of the art market.



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