Issue link: https://read.dmtmag.com/i/48690
galleries galore CRISTINA GRAJALES While Cristina Grajales may have began her career as an adviser and expert in 20th Century design, it wasn't long before designers began to seek out her expert eye—and client base—for themselves. Ten years ago she opened her namesake gallery—a sun-filled fourth floor space on the far southern edge of SoHo—with a range of work that includes lighting, textiles, furniture, objects and sculptures by French icons like Charlotte Perriand and Serge Mouille, as well as contemporary designers including Sebastian Errazuriz and Ayala Serfaty. Now recognized as much for her expertise in 20th Century design as for discovering emerging talent, Gra- jales is a fixture in the international design gallery circuit. We caught up with the charming dealer, just back from London, to discuss her first 10 years in the business and where she sees the next 10 going. Who will you be showing at Design Miami/ this December? We have new pieces by Suzanne Tick—whom we showed for the first time in Basel—and new work by Sebastian Errazuriz and Ross Bleckner. When planning an exhibition, do you have an exact idea of what you'll be showing? I kind of have an idea, but I want to be open if something new shows up; I like to leave room to improvise. Is that your way in general? Kind of... I have a general idea because the shipping and logistics have to be done in advance. You have to have op- tions. Plan A, B—and maybe C. Tell us about your relationship with the designers. It's the most fun. The best part is the dialogue between the artist and the galleries. I love vis- iting the studios, preparing for an exhibition, developing the idea—the en- tire curatorial process. Helping them fulfill a dream by producing a piece, putting it an exhibition. What attracts you to a designer? The work has to be exciting and creative. It's about the craftsmanship. And most of all, the thought behind the piece. Why are they making this? What's the idea? Where are they going? And where does the client come into play in the process of curating a show? If I were very rich I could do an exhibition based only on ideas... but you have to create the balance between creativity and commercialism. How has your gallery evolved over the century collections. Through my Cristina Grajales last 10 years? I was an adviser for 20th reputation, all of these artists began to ask me to represent them. I was scared in the beginning because it was a very different way of doing busi- ness. The artists are the ones who changed my life and changed my gallery and pushed me in a direction I never knew I was going to go… So there's that element of improvisation. And now the clients you advised turn to you to introduce them to new design. Yes, exactly. It's about how to bring their 20th into the 21st century collection century. It's my philosophy. To be interesting and alive, you have to consider the period you're living in. Do you think that's the direction of collectible design? Yes, I think that's what's interesting. And, I think if Perriand and all of those people were alive, they would be fascinated by the technology. They'd be looking to new materials. It's interesting because it keeps your collection and mind fresh. Always moving forward. 58 CULTURED Sebastian Errazuriz's Magistral cabinet