History In e Making A Maestro showcase

e active presence of distinct indigenous traditions is essential to the identity of both the city of Oaxaca and the state of which it is the capital. Due in parts to its rocky geography, the territory was historically isolated from the centers of colonial government, meaning the cultural traditions and identity of the region’s indigenous peoples such as the Zapotec and Mixtec remained relatively intact.

Today, about a third of the state’s population speak indigenous languages— half of all Mexico’s indigenous language speakers. e sense of a proudly Zapotec identity is apparent not only in the crafts of the region but in the work of its visual artists—including some of Mexico’s most esteemed, like Rufino Tamayo and Francisco ‘El Maestro’ Toledo. Reyes observes that “Pre-Hispanic practices and strong, resilient culture, dating back generations, are still very alive in Oaxaca. Filled with diversity, the landscapes and people have an inspiring history which has shown to be incredibly influential to their artistry.” Despite this, he does not see the work of studio rrres as backward looking in any sense. For the Artpothecary installation at Frieze New York, Reyes presents a new collection of weavings and textiles in wool, cotton and palm, as well as ceramics, based on the geometry of modernist architecture. “We wanted to bring something authentic and di erent,” he says, “a modern view and not just what one would typically think of regarding Oaxacan architecture.”

Architect Marissa Naval also brings an unexpected angle to Oaxacan tradition. Born and raised in Mexico, she studied architecture in Monterrey and then at Columbia in New York, working for some years at the practice of the late ChineseAmerican I.M. Pei. But it was a summer apprenticeship in Kyoto, Japan in which she began to forge a new path. “I had the privilege of serving as an apprentice to a highly skilled master carpenter,” she explains, “and discovered an authentic artistry that connected both Japan and Oaxaca—a creativity that went beyond the surface.” In the ancient traditions of Japanese woodcarving, in which formally complex structures can be assembled solely through hand tools, eschewing fastenings like metal nails or glue, Naval saw a parallel with the understated intricacy of Oaxacan crafts. “ e artists are anonymous,” she continues, “but have the ability to draw inspiration from a tree, t he sky or a rock—radiating a sense of mysticism in their works.”

It’s intriguing to think about the cultural connections between Japan and Mexico: from the way that the painted folding screen known in Japan as byōbu arrived via colonial trade in the 17th century and became the Mexican biombo; to how, in the early 20 th century, the JapaneseAmerican Isamu Noguchi produced an extraordinary sculpted mural in a now somewhat dusty corner of the Abelardo L. Rodríguez Market. What are some of the continuities between the two cultures, I ask Naval. “We both love food, nature! And some drinking!” she responds. “It’s actually pretty spectacular,” she continues, “how the Beckmann family, who are the owners of Maestro Dobel Tequila, helped introduce tequila to Japan and now there’s a growing interest and popularity in tequila and other Mexican spirits in the country.”

For Frieze New York, Naval attempts to convey this sense of harmonious dialog between distinct local traditions through a bar structure and furniture, inspired by the form of the traditional Zapotec house, constructed according to Japanese carving techniques from Mexican cedar wood. As with Reyes, working with specialist local artisans is central to Naval’s practice. “ e people that I work with are very important,” Naval says, “as we are all very much passionate about our work, each one with the subject that corresponds to us, being honest and respectful with the materials, and our past.” is approach to heritage and tradition is clearly one which appeals to Maestro Dobel, who not only pride themselves on being an eleventh-generation tequila, but credit this accumulated knowledge with their ability to innovate: producing the first “cristalino” tequila in 2008. As with Reyes and Naval’s work, being enmeshed in tradition is not an obstacle but a path to new creation. As Reyes notes: “We’ve cultivated traditions of the past into our pieces, while integrating an innovative perspective towards the future.” ¡Salud! to that.

As Chair of YoungArts, Sarah Arison oversees a system of invaluable, long-term support to young artists and arts organizations across the country. She discusses getting advice from Agnes Gund, assembling her “very personal” collection, and why she’ll always be drawn to New York’s endless energy.