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ETERNAL RETURN Gwladys Alonzo (FR ´90) Erik Bendix (DK ´75) Colector

Did anyone else notice or was it just me? Seeing the PreMACO Monterrey 2020 program, I was struck by the number of exhibitions dedicated to reviewing female statements as well as the number of female artists. I couldn't help doing a detailed analysis and counting one-by-one the participants in each event of the program and it confirmed my suspicions: 50% of the artists were women. If we add the data of gallery owners and curators, the percentage of women was 48%. (1)

It has always been perceived that the art scene has been more welcoming to male artists than to women. Not only locally, but also nationally and internationally. In 2019, for the first time in history, gender equity was achieved in the artists participating in the Venice Biennale: 53% were women.

ETERNAL RETURN Gwladys Alonzo (FR ´90) Erik Bendix (DK ´75) Colector

Curators of important museums, art fairs, artists, gallery owners, are mostly men. Or could we say "they had always been men"?

Today, we know that the Venice Biennale will have Cecilia Alemani as curator in 2021. In Mexico, we can mention Zelika García who has been in charge of Zsona MACO since 2002, Amanda de la Garza who is now the director of Visual Arts Coordination of Cultural Diffusion department of UNAM (MUAC museum). Locally, in Monterrey, Taiyana Pimentel has been in charge of MARCO Museum since 2019, and since 2018, Verónica González is head of Las Artes Monterrey among many that stand out today.

Tacet de Raúl Mirlo. Curaduría Abril Zales (Escuela Superior de Música y Danza de Monterrey)

This year, PREMACO Monterrey has the participation of women such as Miriam Medrez, Georgia Durán, Mayra Silva, Virginie Kastel, Pilar de la Fuente, Yolanda Leal, Abril Zales, Paola Livas, Melissa García Aguirre, Dominque Suberville, Gwladys Alonzo y Nico de León (just to mention a few). Is it now a good time to applaud and celebrate?

Definitely yes, I think, we must acknowledge the effort of those who knocked on doors insistently asking, shouting and demanding a place for women within the art scene. We need to recognize the careers of artists that continued to produce and stayed even when the art scene was masculine terrain. We must also recognize all the people who knew how to step aside and give way to all these women.


Rose Kallal (CA ´65)


Exposición: Voluptuosidad Fragmentada Curaduría: Amanda Cantú. Artistas: Lola RamosGeorgia DuránElena PáezPerla TamezViviana SofíaDenise LongoriaStephanie Rose

There are gender quotas, which serve to define a minimum participation of women in different areas. But can we say at some point that the quota was met? Undoubtedly, these mechanisms open the way for women a bit, but we should ask ourselves: do we want to be there for a mere quota? When would be a good time to talk about proposals regardless of the gender of whoever is presenting them?

I am not talking about issues related to socially imposed or acquired injustices as a woman, nor about getting treated differently or given permission to be our own sex. I am talking about the participation we have and the right to be able to share the table fairly.

Exposición: Memoria Corporeizada Curaduría: Paola Livas Artistas: Miriam Medrez, Yolanda Leal; Marcela Quiroga; Melissa García Aguirre; Sara Medina; Gina Arizpe; Dominique Suberville; Diana Garza Islas; Issa Téllez; Rebeca Reyes; Mayra Silva; Colectivo marcelaygina; Fina Ferrara

Today I acknowledge the struggle of all the women who have shaped the contemporary art scene in Mexico; those that are still active and those who were left behind. In terms of a specific goal, I wouldn’t know if we are about, halfway or already there. There has been considerable progress, but there’s still a long way to go. I don’t know if the high representation of women during this PreMACO was coincidental or intentional, however I think it’s important to recognize that once this ground has been gained, the quality of proposals should be more demanding and the local art scene should set the bar slightly higher.

I would like to think of a day when participation of women will cease to be a gender struggle reflected in a quota and the level of each proposal will rise. Maybe that is when we will know we have truly reached the goal.


1. Study conducted on January 22, 2020. It is considered a margin of error as it does not have more specific data of all the gallery owners involved and curators, not mentioned in the program.



Monterrey, Nuevo León, México. CP 64920