Interview with Pepe Mar

Artist Pepe Mar (b.1977, México) has been invited to step into the Frost Art Museum’s vaults to curate an exhibition. Leveraging his knowledge and passion for objects that emanates in his , collage, and installation work, Mar is engaging in a process of excavation of the Museum’s holdings to imagine new connections, histories, and realities. Mar’s project, titled Tesoro, will result in a dramatic presentation in the galleries and offer a fresh take on traditional museum display. Tesoro will be located on the third floor of the Museum.

AG: Amy Galpin PM: Pepe Mar

AG: I feel like as we have been developing this project you’ve been referencing Mexico more than you usually do when you talk about your art. Frequently, we are talking about Mexican art and traditions. Of course, this is also something that we share—a great interest in the history of Mexican art. Can you talk specifically how Mexican culture is reflected in the choices that you are making?

PM: When I was a teenager in Mexico my grandparents’ house was walking distance from el Mercado de Artesanías in the center of town. That place was my first encounter with ceramics, papier-mâché , nativity scenes, and Día de los Muertos clay figurines. These would have a lasting impression on my work which has a very autobiographical nature. The choices for Tesoro are very personal and this pursuit of my heritage in these curatorial choices were triggered by the Frost Museum’s collection of Mexican masks. These masks share the same DNA with my practice and have become my point of departure for Tesoro. Our recent visit to the Whitney’s Vida Americana exhibition last month was also inspiring, tracing the Mexican muralists’ influence on American artists.

AG: We are very proud that you have connections to FIU. That your work is in the collection and that you received an MFA from the University. You also studied in with artists like . Can you talk about your time in San Francisco and what you learned from Frey and others?

PM: When I arrived at the ceramic studio of CCA in the late 90’s I was confronted by a population of characters that Viola created in the studio- tons of split molds crammed into cabinets ready to be used. I was fascinated by all this. I studied ceramics for a while with great enthusiasm but eventually I met Raymond Saunders, a collage artist teaching at CCA. His influence would have a profound effect on my practice.

AG: As we practice social isolation during these uncertain times, we have continued to work on your show. How has being home more affected your practice? Has it changed the way you think about the exhibition or the way we work together?

PM: I am from the generation that lived with both a landline and a smartphone. I am not afraid to call you when I have an idea to discuss, so I feel that the conversation has been ongoing even though everything happening has made for unique circumstances. There’s always something refreshing about going back and doing something analog, which is one reason I love to work in collage so much.

AG: I met you first through your art. After moving to Miami, a couple of years ago I became more familiar with your practice and of course, you as a person. I know now that you are a voracious consumer of information about art. You read books, magazines, search Instagram, visit exhibitions. You are incredibly knowledgeable about contemporary art. Do you want to share any of your favorite sources for engaging with art? Any favorite exhibitions that you’ve seen recently?

PM: I think following artists and institutions that you like from around the world on Instagram is a great tool. It keeps you up to the minute. Usually when something catches my eye, I do deeper research on the web and I buy books to revisit some shows more in depth.

AG: You were recently featured in a book on sculpture. Who are some of the artists featured in the book? How did they approach you about being included?

PM: I am so honored to be in the 100 Sculptors of Tomorrow (Thames/Hudson) book with artists that I admire like Donna Huanca, Francis Upritchard, and Ruby Neri. I applied to an international open call, and I was selected by curators including Anne Ellegood from the ICA Los Angeles.

AG: What are some things that have surprised you about spending time with the Frost Art Museum collection? Is there a work that you can highlight?

PM: I really love the Cuban Vanguard donated by Jorge Perez to the University. I have learned to appreciate them more in depth since I have lived in Miami for 20 years. It’s been exciting to experience them as a group.

AG: What can you tell us to expect from Tesoro? Any surprises you are willing to share?

PM: I want Tesoro to surprise the viewer as an overall experience. There will be unconventional modes of display, collections inside collections, salon-style hangings, and exciting loans from local collectors who have supported my practice for many years.

AG: How does working as a curator align with your approach to your art?

PM: My practice involves shopping, looking, collecting, and selecting. In very real and direct ways, my practice involves curatorial decisions. What elements get acquired and which of these will make up the composition of a collage or assemblage work involves much of the same thinking as curating an exhibition. I conceive Tesoro as an extension of this curatorial thinking that is part of my everyday practice.