Father, Son &Friendly Ghost by Danny McDonald
House of Gaga
Photo: Maya Fuhr
ESTACIÓN MATERIAL VOL. 2
“Arte qué rico…”, Material’s slogan perfectly captures the essence of the fair: truly divine. Back in November, Estación Material debuted its second edition, focusing on a Guadalajara-based national program that differentiates from its sister fair back in Mexico City. With so much local discourse centered on Guadalajara’s long-famed local design and art scene, along with more recent rumors branding the city as the next international zeitgeist city in Mexico, Estación Material not only offers Guadalajara the only existing contemporary art fair in the city, but one of the most curated fairs among all of Latin America.
This year, Estación Material, Vol. 2 welcomed thirty-seven Mexican galleries at its iconic Ceramica Suro venue, creating a two-part program offering exhibition space for both Mexican superstar galleries like House of Gaga (Los Angeles, Mexico City) and OMR (Mexico City), along with underground favorites like Salon Silicón (Mexico City) and Yope Projects (Oaxaca). Here, the fair transforms Ceramica Suro, one of Mexico’s leading ceramic studios, into a total Mexican art haven, unlike anything you can currently find in the art world.
Material’s Founder and Creative Director, Brett Schultz, combines his academic expertise in international relations and integrated telecommunications with his impressive experience organizing exhibitions throughout Mexico to marry both the art market and culture. We caught up with Brett to reminisce about this year’s fair and presentations and hear more of his insight on the curious fate that awaits Guadalajara’s growing arts scene.
Photo: Maya Fuhr
Interview by Bryan Munguia
Bryan Munguia: It’s rare to come across a fair focusing almost exclusively on a Mexican gallery roster, which seems to be the exact initiative here at Estación Material. With your strong background organizing projects in Mexico, what drew you to create something in Guadalajara?
Ben Schultz: The whole thought process that led to Estación Material began early on in the pandemic. It was obvious to us that our international fair in Mexico City just wasn’t viable for the first half of 2021, so we began to dialogue with gallerists and collectors and to imagine other possibilities. When we surveyed our collectors in September of 2020, we discovered that many Mexican collectors were already freely traveling about within Mexico. So we thought, what if we do a smaller, nationally-focused fair in another city?
The idea was to do something that felt more intimate and special, which could really help contribute to a stronger sense of community within Mexico’s art world. In the more regionalizing pandemic context, it seemed critical to help foster those kinds of personal and professional relationships closer to home.
Guadalajara was a natural choice of cities for several reasons: it has a fascinating local art scene with smart, sophisticated collectors; it has played an important role in the history of contemporary art in Mexico; it has José Noé Suro, whose involvement has been absolutely instrumental to this fair’s success; and the food there is just insanely good.
Nymphosis by Kristin Reger
Salon Silicón
Photos: Maya Fuhr
BM: Can you tell us a little about the significance of hosting the fair at Cerámica Suro for the second time? What about the factory contributes to the program’s context?
BS: It’s one of those elements that makes Estación Material such a unique fair and experience. Cerámica Suro is a cultural landmark in Guadalajara. Thanks to decades of collaborations and residencies with artists from all over the world, it’s without a doubt one of the most important reference points for artistic production in Mexico. I think placing an art fair there somehow serves to remind everyone of the life every artwork has had leading up to that moment.
Art by ASMA
House of Gaga Photo: Maya Fuhr
Déjate Ver by Samuel Nicolle Salon Silicón
Photo: Maya Fuhr
BM: Beyond location, there is a solid curated effort felt here. From inviting both established galleries and project spaces, can you discuss the intention behind marrying these two categories in one niche site?
BS: Because the fair was created with a national focus, we want to make sure Estación Material really offers an unrivaled panorama of contemporary art in Mexico. To do that, I think it’s vital to recognize the galleries and artists that have put Mexico squarely on the international map, but also to include the best of the young artist-run and independent spaces that will continue to keep Mexico’s art scene relevant and exciting going forward.
Cortez by Sangree Yope Projects
Photo: Maya Fuhr
Hombres Ilustres by Julieta Gil Campeche
Photo: Maya Fuhr
BM: Considering the symbiotic relationship between Material’s nationally-focused program and its host city Guadalajara, how would you describe the responsibility in either representing or contributing to the demands of the local community?
BS:We have a huge responsibility to connect the fair closely to the local scene in Guadalajara. We never wanted to think of Estación Material as just a fair. For it to work, there has to be an entire art week happening around the fair and that week has to involve the local galleries and independent spaces in a really direct way. This year especially we saw an explosion of exhibitions and events all over town that added so much to the experience.
Sotavento by Mili Herrera Parallel Oaxaca
Photo: Maya Fuhr
Save The Artist Photo: Maya Fuhr
BM: This fair feels far more democratic than others you might encounter in Mexico. Did you notice anything unique about what type of works or programs were attractive to the locals? Did it differ from the interests of foreign buyers?
BS: By including a thoughtful variety of exhibitors from different generations under the same roof, we certainly hope that there is something for everyone. So I’m happy to hear that it felt democratic to you in that way. As this fair continues to build and develop, our goal is that it attracts more and more collectors from across Mexico and elsewhere each year, with exactly that in mind: that every exhibitor’s program can find its enthusiasts and its collectors there.
En hervideros by Fabiola Espiga Interior 2.1
Photo: Maya Fuhr
Yope Projects
Top: Sesiones by Jessica Wozny
Bottom: Botas Pesadas by Napoleon Aguilera
Interior 2.1
Photos: Maya Fuhr
BM: Did you have any personal highlights from the weekend? Either relating to Estación Material or what you saw in Guadalajara while you were there?
BS: The nightlife this year was exceptionally fun, I have to say. This is definitely the kind of fair where you have to be merciful on the gallerists and open at a later hour.
Spider by Maggie Petroni
General Expenses & Sólida
Photo: Maya Fuhr
BM: Most people left the fair optimistic about what’s to come for both Material and Guadalajara. Anything you’re particularly looking forward to next?
BS: The second edition of Estación Material actually reminded me a lot of the second edition of our international fair, Feria Material, in Mexico City. I think I’ve come to the conclusion that the second edition of any fair is in some ways the most important, because it offers such a clear, honest map for the road ahead in terms of what works well and what needs work. This second edition definitely confirmed for me that our intuition was right. Estación Material is something special. But I’m also excited to get to work on making the next edition even better.
Portrait of Brett
Photo: Maya Fuhr