Brian Thoreen’s works on display at Masa Gallery’s first exhibition, ‘Collective/Collectible’

Despite Mexico’s plenitude of noteworthy designers producing groundbreaking work, the country lacks an internationally recognised gallery for collectible, limited-edition design. Masa has elegantly strutted in to change that. Presenting its inaugural show in an abandoned 1970s home in the verdant Paseo de las Palmas in Mexico City, Masa has made its intention in the industry clear.

尽管墨西哥有大量值得注意的设计师创作了开创性的作品，但该国缺乏一个国际公认的可收藏、限量版设计的画廊。马萨以优雅的姿态改变了这种状况。马萨在墨西哥城青翠的帕西奥·德·拉斯·帕尔马斯(Paseo De LasPalmas)上20世纪70年代的一栋废弃住宅里展示了它的首场演出。

Masa is a nomadic gallery that fuses art, design and architecture, inviting visitors to view exclusive pieces of furniture in dialogue with paintings and objets, set within an environment that represents everyday living. ‘We didn’t want a standard gallery model,’ explains co-founder Age Salajõe. ‘It had to be more disruptive.’ Without a permanent location, Masa will travel to intriguing venues, changing the work it shows according to locale. ‘We’ll evolve with the spaces, as we find locations that have magnificent character,’ Salajõe explains.

Masa是一家将艺术、设计和建筑融为一体的游牧民画廊，邀请游客在一个代表日常生活的环境中，通过与绘画和布景的对话，观看独具特色的家具作品。“我们不想要一个标准的画廊模型，”联合创始人AgeSalaj e解释道。“这肯定会更加混乱。”由于没有固定的地点，Masa将前往有趣的场地，根据现场情况改变它所展示的作品。Salaj e解释说：“我们将随着空间的发展而发展，因为我们会发现那些有着壮丽特征的地方。”

Above, Frida Escobedo’s chair. Below, works by Pedro Reyes and Brian Thoreen

上面是弗里达·埃斯科贝多的椅子。下面是Pedro Reyes和Brian Thoreen的作品

Masa’s premier exhibition, ‘Collective/Collectible’, curated by Su Wu and Constanza Garza, showcases work by Mexicans or foreigners who have lived in the country and been influenced by it. In one nook, a copal burner by young local studio Tezontle is presided over by a surrealist painting by Leonora Carrington, a British artist involved in Mexico’s women’s liberation movement of the1970s. In the entrance hall, still painted bright red with matching carpets from the era, visitors are welcomed by Brian Thoreen’s ‘Tar Paper Stack’, towering over Pedro Reyes’ ‘Mitla Chairs’.

马萨的主要展览“集体/收藏品”，由苏武和康斯坦扎·加尔萨共同策划，展示了墨西哥人或外国人的作品，他们生活在这个国家，并受到它的影响。在一个角落，当地年轻的工作室Tezontle主持了一场由英国艺术家LeonoraCarrington主持的超现实主义绘画，他参与了上世纪70年代墨西哥的妇女解放运动。在门厅，仍然用那个时代的相配地毯涂上鲜红色，游客们受到布赖恩·梭伦(Brian Thoreen)的“焦油纸堆”的欢迎。

‘We want to give Mexican collectible design a global platform.’

“我们想给墨西哥的收藏品设计一个全球性的平台。”

Hector Esrawe’s lamps and Jose Davila sculptural table

赫克托·埃斯拉韦的灯具和何塞·达维拉雕塑桌

The work of Reyes, a Mexican lauded by Design Miami (together with his wife Carla Fernández) as the Design Visionary 2018, is a solid match for that of Thoreen, a US designer who moved his studio to Mexico City last year and is a co-founder of Masa, along with Salajõe, Cristobal Riestra of OMR Gallery and Hector Esrawe, another powerhouse creative. Esrawe’s sensuously curved brass lamps stand in a room of their own on the first floor, as does a collaborative collection of bulbous glass vessels by Vissio, produced by Nouvel Studio.

雷耶斯(Reyes)是墨西哥人，曾与妻子卡拉·费尔南德斯(Carla Fernández)一起被誉为2018年的“设计远景”(The Design Visionator 2018)。雷耶斯的作品与去年搬到墨西哥城的美国设计师梭伦(Thoreen)的作品不相上下。雷耶斯是Masa的联合创始人，以及OMR画廊的Salaj e、OMR画廊的Cristobal Riestra和另一大创意公司Hector Esrawe的创始人之一。埃斯拉韦的性感弧形黄铜灯站在自己的房间，在一楼，以及合作收集的球状玻璃容器，由Vissio，由努维尔工作室生产。

Salajõe’s ambition for Masa and the next destination is evident: ‘we want to give Mexican collectible design a global platform.’ §

Salaj e对Masa和下一个目的地的雄心是显而易见的：‘我们想让墨西哥的收藏品设计成为一个全球性的平台。’§。

展馆(等几千年)，2018年由豪尔赫门德斯布莱克馆(等等几千年)，2018年由豪尔赫门德斯布莱克