The fourth edition of Estacion Material took place from September 26 to 28 of this year, once again inviting members of the Guadalajara artistic community, as well as art fans and the general public to come together and celebrate the creativity of Mexican and international artists. With more than 500 attendees just on the opening day, Estación Material makes clear the strong position of the 'Perla Tapatia' as a center of creative talent and art destination in Mexico.

Estación Material, an initiative derived from the eponymous Material fair, is one of the most important art fairs in Mexico in the last decade, together with Zona Maco, Salon ACME, and others. Its venue for this edition was Plataforma, a contemporary art center and curatorial research space located in the emblematic American colony of Guadalajara.

In this edition, the fair occupied the two main floors of the Plataforma space, where each gallery presented a project by unx artistx, departing from the “white cube” format of traditional art fairs. Participating projects and galleries included Campeche (CDMX), CURRO (Guadalajara), Enrique Guerrero Gallery (CDMX, Todos Santos), Karen Huber Gallery (CDMX), Nordenhake Gallery (CDMX, Berlin, Stockholm), Guadalajara90210 (CDMX, Guadalajara), PALMA (Guadalajara), PEANA (CDMX), Pequod Co. (CDMX), Parallel Project (CDMX), Saenger Gallery (CDMX), Room: GAM (CDMX), Vacant Land (CDMX), White Shooting (Guadalajara), Travesia Cuatro (Madrid, CDMX, Guadalajara), Aberrante (Morelia), Azul Arena (Ciudad Juárez), Open Floor (Mexicali), E.M.E. Project (Cuernavaca), Waiting Room (Tijuana), Yutindudi (Sierra Mixteca).

In addition to the exhibition of works, the fair included talks, project award events, social spaces and a DJ set. between Performances, friends perhaps over a beer, laughter and contemplation, the galleries and projects present boasted the works of unpublished works by established and emerging artists. It was definitely a fun weekend for everyone in attendance. However, there is something more interesting behind what seems at first reading to be a moment of fun and leisure.

From a critical point of view on the state of the art market in Mexico (if that can be said to exist), it is important to highlight that the activities surrounding the fair not only arouse the interest of the general public but also create meeting spaces where, in a more relaxed format than in a museum or gallery, different actors in the art industry and the general public can reflect on what it means to make, appreciate and “consume” art in Latin America. Despite the impetus that the creative industry has experienced in our country for some years (mainly driven by the arrival of foreigners starting in 2020), it is not difficult to hear that Mexico is still “a country for engineers, lawyers and doctors”.

Although the quantity and quality of artistic talent in our country is clear, there is still a barrier with the general public regarding the appreciation of art in most of the country. I admit that this statement could be challenged by correctly citing multiple examples of successful projects and initiatives in Mexico City and some strategic centers in our country. What is certain is that the discourses of contemporary art still seem distant and alien to the majority of the population. It is in this area that projects such as Material Station and Platform do incredibly valuable work in revaluing artisanal practices as a method of artistic expression, supporting local artists, and providing an artistic and curatorial point of view to topics of interest in our communities.

Another key aspect to developing the art ecosystem in the country, and one that we must not lose sight of, is that as a guild we have to be culturally valuable enough to promote the creation of new forms of collecting, without which an art market cannot survive. How, then, do we promote a collection that is not only relevant, but ethically diverse and critical in Mexico? Do we dare to think of Latin American collecting as well? Without pretending to know the answer, what I propose is that we must try different ways. This is where I think Estación Material proposes a model: creating spaces for reflection and different ways of approaching living art.

Estación Material, from the perspective of celebrating local talent and creating interest in the general public, was a success. It is up to the creative community to continue connecting with audiences, being critical of the stories we promote and understanding what is the main narrative thread of our history in contemporary art that allows us to generate collectibles and an economic model that supports artistic talent that grows exponentially, day by day.