{"id":209782,"date":"2026-05-14T14:22:14","date_gmt":"2026-05-14T20:22:14","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=209782"},"modified":"2026-05-14T14:35:29","modified_gmt":"2026-05-14T20:35:29","slug":"georgina-pounds-gallery","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/georgina-pounds-gallery\/","title":{"rendered":"Georgina Pounds Gallery"},"content":{"rendered":"

How did this place come about and what made it different from the start?
<\/strong>For Georgina Pounds, the gallery began by listening to the city, the architecture, and the building\u2019s previous life before defining an exhibition programme. Rather than imposing a model, the space itself shaped the vision.<\/p>\n\n\n\n

The rooms retain their historic names: Frida Kahlo, Nahui Ollin, Marguerite Yourcenar, and Luis Cernuda, preserving the memory of the artists once associated with the site.<\/p>\n\n\n\n

Original 1911 features remain intact, including high ceilings, moulded details, and herringbone wooden floors.<\/p>\n\n\n\n

The programme reflects Mexico as a place of history, imagination, and ritual. It brings together Mexican and international artists, whether established, mid-career, or emerging, whose practices engage with the country.<\/p>\n\n\n\n

Artists such as Maria Kalach<\/strong><\/a>, M\u00f3nica Figueroa<\/strong><\/a> and Sofia Bassi<\/strong><\/a> feel inherently connected to the atmosphere of the space, where ancestral symbolism and everyday magic quietly coexist.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What part of the day, space, or creative process do those who work here enjoy the most?
<\/strong>Light plays a central role. The illumination shifts throughout the day, interacting with the baroque walls, while the nighttime lighting becomes theatrical.<\/p>\n\n\n\n

The process of installing exhibitions, selecting works in dialogue with the architecture, and collaborating with curators such as Constantin Nakov<\/strong><\/a> is where the space truly comes alive.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If someone is coming in for the first time, what should they not miss?
<\/strong>Visitors are encouraged to spend time in the gallery: to read, write, or simply sit among the works.<\/p>\n\n\n\n

Talks, readings, and intimate performances accompany the exhibitions, continuing the building\u2019s legacy as a cultural meeting point.<\/p>\n\n\n\n

Early programming included a talk by art historian Katy Hessel<\/strong><\/a> linked to her forthcoming book, marking her second visit to Mexico following\u00a0The Story of Art Without Men<\/em>\u00a0in 2024. And Gemma Janes<\/strong><\/a> presented two artist books:\u00a0The Debutante and Other Stories<\/em>\u00a0by Leonora Carrington, featuring a special cover by Tall Lennox, and\u00a0Companions<\/em>, with a cover by Jessica Luostarinen<\/strong><\/a>. Read one of these!<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What has been an interesting challenge that has made you rethink something about the project?
<\/strong>The gallery was conceived as a collaborative model. Working closely with other galleries, including the Bassi Foundation<\/strong><\/a>, the archive of Kati Horna<\/strong><\/a> and JO-HS<\/strong><\/a> for the exhibition of Perla Krauze<\/strong><\/a> with Condo, has shaped a programme rooted in exchange rather than competition.<\/p>\n\n\n\n

In a shifting art landscape, this approach feels like a more generous alternative to traditional gallery structures.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What influence, idea, or reference continues to shape the way you work today?
<\/strong>Architecture remains central. Opening a gallery in a 1911 building was a deliberate choice: to let memory and structure guide the programme.<\/p>\n\n\n\n

Roma Norte itself embodies continuity and change, a neighbourhood where historical architecture adapts to contemporary rhythms.<\/p>\n\n\n\n

The artists exhibited are those who find inspiration in Mexico\u2019s layered realities: history, imagination, witchcraft, and everyday life.<\/p>\n\n\n\n

The programme brings together Mexican and international artists connected to the city, including Sofia Bassi, Maria Kalach, M\u00f3nica Figueroa, and Kati Horna.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What place, project, or person has inspired you recently and why?
<\/strong>Casa Pedregal<\/strong><\/a> by Luis Barrag\u00e1n demonstrates how light and proportion shape emotional space.<\/p>\n\n\n\n

The Museo Anahuacalli<\/strong><\/a>, built in volcanic rock, draws on pre-Hispanic cosmology and elemental symbolism.<\/p>\n\n\n\n

The studio of Bosco Sodi<\/strong><\/a> and Casa Wabi<\/strong><\/a> Mexico City, designed by Alberto Kalach<\/strong><\/a>, reveal how architecture and materiality can respond directly to artistic practice.<\/p>\n\n\n\n

Together, these spaces show how art and architecture deepen one another.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
<\/strong>Luis Barrag\u00e1n, to learn from his understanding of space and light. A gallery inside one of his buildings would completely transform the programme.<\/p>\n\n\n\n

Or Edvard Munch, whose emotional intensity still resonates today. I\u2019d like to meet him and understand the way he saw the world.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Is there an object, corner or detail of the place that has a story that few people know?
<\/strong>The doors are labelled with artists\u2019 names: Frida Kahlo, Marguerite Yourcenar, and Luis Cernuda, each leaving a symbolic trace.<\/p>\n\n\n\n

These references quietly haunt the space with artistic memory.<\/p>\n\n\n\n

The women\u2019s moulded faces on the ceilings remain a mystery that I hope to uncover one day.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If this project were a city, a book, or a record, which would it be and why?
<\/strong>Wieskirche, the Rococo church celebrated for its luminous white interior flooded with light.<\/p>\n\n\n\n

Actually, that\u2019s not a book or a city. Let\u2019s say somewhere where the light feels supernatural.<\/p>\n\n\n\n

Maybe Matisse\u2019s chapel in the south of France. Although that\u2019s not a city or a book either. Apparently, this place reminds me of a church.<\/p>\n\n\n\n

Answers by Georgina Pounds<\/a>, gallery owner.<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

The gallery began by listening to the city, the architecture, and the building\u2019s previous life before defining an exhibition programme. Rather than imposing a model, the space shaped the vision. The artists exhibited find inspiration in Mexico\u2019s layered realities: history, imagination, witchcraft, and everyday life today.<\/p>","protected":false},"author":8448,"featured_media":209784,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"places","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17870],"tags":[],"class_list":["post-209782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-galerias-y-museos"],"acf":[],"mb":[],"yoast_head":"\nGeorgina Pounds Gallery - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/georgina-pounds-gallery\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Georgina Pounds Gallery - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"La galer\u00eda comenz\u00f3 escuchando: a la ciudad, a la arquitectura y a la vida previa del edificio antes de definir un programa expositivo. 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