Situated in the heart of Monterrey, just steps away from its historic district and facing the city hall and main cathedral, stands a striking orange postmodern building designed by renowned Mexican architect Ricardo Legorreta. This architectural marvel, completed in 1991, features sharp lines and a stucco finish that pays homage to traditional Mexican design, creating a stark contrast with the rolling hills nearby. Within this building lies the Museo de Arte Contemporáneo de Monterrey (MARCO), which has been showcasing international contemporary art in this industrial capital of northern Mexico for the past three decades. Notable exhibitions have included works by Annette Messager, Ernesto Neto, and Ron Mueck, borrowed from other renowned museums around the world.
Under the leadership of executive director Taiyana Pimentel, who assumed her role in 2019, MARCO has embarked on a transformative journey. Pimentel, originally from Havana, was drawn to Monterrey in the mid-90s, where she encountered the artist collective marcelaygina, known for their unconventional performances that challenged social norms. This encounter inspired Pimentel to rethink the role of art in society and question the traditional art scene of Mexico City, where she had previously resided.
“In Monterrey, I found strong political voices addressing issues of class, race, and income, which made me ponder whether the ‚North‘ could offer a fresh perspective on the art scene compared to the country’s central regions,” Pimentel shared with ARTnews.
This unique perspective has shaped Pimentel’s curatorial approach at MARCO, focusing on the artistic production of northern Mexico. Recent exhibitions have showcased photography from Nuevo León and highlighted artists like Mario García Torres, Miguel Calderón, Pedro Reyes, and Damián Ortega, who had not received significant recognition in their own country until now.
Pimentel’s commitment to diversity and inclusivity is evident in MARCO’s programming, with a special emphasis on female artists. The museum has hosted exhibitions for artists like marcelaygina, Melanie Smith, Sofía Taboas, and Helen Escobedo, alongside solo shows for Teresa Serrano and an upcoming retrospective on Teresa Margolles. Additionally, MARCO has opened its doors to emerging artists like Aurora Pellizzi and Adeline de Monseignat, providing them with a platform to showcase their work.
In collaboration with international institutions like the Dia Art Foundation in New York and museums in Texas, Pimentel has strengthened MARCO’s global connections. These partnerships have brought significant exhibitions to Monterrey, such as Dan Flavin’s show, which drew record-breaking crowds to the museum.
The recent exhibition, “Nuevo León: El futuro no está escrito” (Nuevo León: The Future is Not Written), curated by Mauricio Maillé and Ariadna Ramonetti Liceaga, exemplifies Pimentel’s vision for MARCO. This thought-provoking exhibition featured diverse photographic perspectives from artists with ties to Nuevo León, offering a nuanced exploration of the region’s complexities and contradictions.
One of the exhibition’s highlights was the work of Aristeo Jiménez, who captured the social realities of Monterrey’s neighborhoods with a keen eye for detail. Yvonne Venegas’s images of San Pedro Garza García provided a stark contrast, highlighting the economic disparities within the region.
“Nuevo León: El futuro no está escrito” challenged viewers to confront uncomfortable truths and envision a better future for the region. This exhibition serves as a testament to Pimentel’s commitment to showcasing diverse perspectives and fostering critical dialogue through art.
One uncomfortable truth that the exhibition explores is the impact of globalization on labor practices.
Die Kollektive Estética Unisex bietet eine ergreifende Kritik an diesen Bedingungen durch ihre Porträts von Mitarbeitern großer Convenience-Store-Ketten wie OXXO und 7-Eleven. Ihr Fokus liegt auf jungen Menschen, die sich in der Unsicherheit der Gig-Economy zurechtfinden. In einem Satz von Bildern schlafen Arbeiter, während sie noch ihre Uniformen tragen, während ein anderes die Arbeiter, immer noch in ihren Uniformen, in tänzerischen Posen auf der Straße zeigt. Ebenso dokumentiert Oswaldo Ruiz, der in Monterrey geboren und aufgewachsen ist, ausführlich die Auswirkungen der Zementproduktion auf die umliegende Landschaft der Stadt in seiner Serie „Todo lo sólido“ (2018–24). Sechs Jahre lang hielt er die zahlreichen Steinbrüche in der Region fest, von denen viele bereits aufgegeben wurden, und ihre anschließende Umweltzerstörung. Die Verfolgung der Produktion des als bester Zement der Welt geltenden Zements überschattet oft die ökologischen Kosten. Der in Monterrey erzeugte Reichtum hat, wie diese Künstler sagen, auch seine Folgen.
“El futuro no está escrito” diente nicht nur als Reflexion über die Gegenwart von Nuevo León, sondern auch, wie bei der neuen Ausrichtung von MARCO insgesamt, als eindringliche Erinnerung daran, dass Erzählungen aus der Peripherie entscheidend sind, um das breitere kulturelle Landschaft zu verstehen und seine Zukunft zu gestalten.
Pimentel stellte die Frage, ob die Distanz des Nordens einen blinden Fleck für das Zentrum des Landes schafft, was dazu führt, dass seine einzigartigen Praktiken nicht anerkannt und missverstanden werden. Sie fügte hinzu: „Die nordperspektive war das überzeugendste kuratorische Argument, das es mir ermöglicht hat, ein Programm zu entwickeln, das in der Region verwurzelt ist und ihr einzigartiges Identität widerspiegelt.“