In the ever changing contemporary art scene in Mexico Cityspaces continue to emerge that seek to challenge and redefine the ways in which we relate to creativity and artistic expression. Llano is one of those spaces. It is presented as a platform for artists that transcends traditional exhibition formats, focusing on the creation of links and the promotion of deep learning from the works. This initiative It offers a fresh look at the role of art in society, opening paths towards a more enriching and reflective experience for the viewer.
This Mexican platform is distinguished by its focus on artists whose production is based on long-term research processes. They present a body of work that is intertwined with science, history, technology, forgotten knowledge and invisible communities. The various projects they present begin as expeditions: direct explorations of the contexts that serve as a source of inspiration and information for the artists and are the natural niche to which their work belongs.
In an exclusive interview with M Magazine of MILLENNIUMSergio Molina (SM) and Mauricio Cadena (MC), the visionary founders of Llano, share the story of this unique space, the challenges they faced when they started, and how they have become a transformative force in Mexico’s art scene.
What was Llano’s background and what inspired them?
MC. Surprisingly, the pace of things during the pandemic was very helpful in getting started. Museums were closed for too long; the anxiety of confinement and the need to have places for artistic experimentation created the ideal conditions for us to dare to open a space in the middle of what was happening. At a time when everything seemed to be at a standstill, we had the opportunity to start from scratch and prepare the ground to sow the foundations of a new stage. With that idea of ​​fields plowed and ready for planting, we found a space on an industrial rooftop in the Doctores neighborhood that would serve to convene the first shows without thinking about the restrictions imposed by the pandemic. We have always said that rooftops are the urban plains; that is where the name and much of the concept came from, which has evolved in many ways since then.
What obstacles did you encounter along the way and how did you turn them into opportunities?
YEThe pandemic presented very specific challenges. For example, promoting the program without traditional platforms such as fairs, which were suspended. Opportunities also arose, the city became a meeting point for the different cultural agents that make up the international art circuit. Many foreigners had to spend two weeks in Mexico before entering the United States. At the same time, artists, curators and collectors established their temporary residences in Mexico City, enriching the local scene, which was already an international meeting point for art.
How would you define the essence and purpose of Llano?
MC. It is conceived as a platform focused on artists whose production is based on long-term research processes, and whose body of work is linked to science, history, technology, forgotten knowledge and invisible communities. We place great emphasis on knowledge and research processes; we seek to create links and promote approaches and learning around the work, taking the viewer beyond the daily experience of traditional exhibition formats.
What is the process for selecting artists?
MC. It starts with a hunch and the connection with what each artist wants to say. I have always believed that working with artists works as a mix of emotional and professional relationship, because we are betting on the other.
YEWe also like to experiment and collaborate with other programs. We have two exhibition rooms, the first on the roof of the factory and the second in an industrial warehouse on the ground floor. This has allowed us to expand the program with other projects.
How do you seek to interact with the public and offer unique experiences?
YEWe like to think of Llano as a public space; everyone interested in art is welcome here. The gallery occupies two spaces within a 100-year-old factory that has been converted into a hub for cultural projects. La Laguna, as this space is called, has become a community where dynamics are created between the different projects, making a visit to the gallery a unique experience in the city.
MCWe have also made a lot of efforts to bring live arts into the exhibition space, mainly performance and dance. The space has been very lively in recent months; we have used it as a rehearsal room for Diego Vega Solorza, with whom we will do a series of performances in the context of our fourth anniversary in November of this year.
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