By Paola Rodríguez Burunat
I met Gerardo during the first days of our master’s program. It was that typical, high-energy environment where everyone is eager to connect, share backgrounds, and know each other: “What's your name?” “What do you do?” “Where did you study?” During these conversations, I noticed that Gerardo asked questions to truly understand people and find common ground; but not just for himself, but among everyone in the program. He was constantly listening for ways to bridge the gap between others: “She also has a gallery,” He is an artist too,” “Look! she is looking for exactly what he has,” and so on.
It was during one of our first classes—while I was introducing myself and talking about my background—that I received a message:
“Hey! It’s Gerardo from class. I didn't realize you host local tours on the side. I actually have a few private tours already lined up—would you like to chat?”
That was how he invited me to step into the world of experiences, connections, spaces for dialogue, and tours that he had created through PALANCA.
What is PALANCA?
With the same openness with which he started every conversation, he invited me to one of what he called “personalized tours” to better understand the project:
-“If you want, we can meet tomorrow at this time and at this address, I’ll quickly pick up the group and see you there.”-
When I arrived at the address, based on my concept of a “tour,” I expected to arrive at a public place and find Gerardo with a microphone and a large group of people wearing headphones. You can imagine my surprise when I arrived at a quiet street lined with the gates of residential houses; I looked for the house number and rang the doorbell: “Hi, I’m with Gerardo from PALANCA”.
Upon entering the house, I found Gerardo chatting with a group of three people, one of them being the artist Brian Thoreen, who greeted me with the familiarity of a friend: “Welcome to my House/Studio.” The visitors were Ian Cartabiano (President of Calty Design Research, Toyota/Lexus’ advanced design center) and his core team. It was then that I realized Gerardo understands the term “tour” in a very different way from everyone else.
The “tour” Gerardo talks about is rather an experience, in which people have the opportunity to enter artists' studios—the most personal space where they create their art—and have an intimate conversation with them to understand their creative process and, ultimately, their work at a much deeper level.
Brian Thoreen’s studio. Courtesy of the artist.
I watched Gerardo during this interaction and noticed that while Brian Thoreen talked with the visitors, he took a step back, letting the conversation flow between them. He allowed the questions, ideas, and connections to happen on their own, without any need for him to take center stage. This very peculiar and unique way of conducting “tours” caught my attention so much that I sat down with him later so he could tell me about his project, PALANCA, in greater detail.
How did PALANCA come about?
“A curation of minds and connections” is how Gerardo best describes it.
The idea started a couple of years ago when he founded his own studio and worked with different communities, artists, and creatives, seeking the perfect synergy to showcase the work of these great masters while honoring their essence. His own background as a designer gave him a deeper understanding of how creatives felt, what their design and creation processes were like, and what their desires and needs were; as a result of the latter, he realized he could connect with people in a more human way. This led him to direct projects where he had to find creatives all over the country, understanding their skills, strengths, and weaknesses, with the purpose of bringing them together so that, collectively, they could create something truly elevated.
During this time, he immersed himself in the diversity of the creative scene in Mexico and saw that many worlds exist: from interior design, craftsmanship, fashion, architecture, and theater, to graphic, textile, and industrial design. He understood that if the right minds are brought together, artists can complement each other to enrich the color palette that defines Mexico’s creativity and diversity.
This practice is what he refers to when he talks about a “curation of minds and connections”: deeply knowing what one person offers and what another is looking for, in order to connect them. But his eagerness to create these human connections didn’t stop at simply introducing people to one another; he wanted them to have a good time, bringing people together in an atmosphere of shared enjoyment while these bonds formed organically.
Looking back, it is easier for Gerardo today to identify and tell me about the passions that led him to create PALANCA; but at the time, it wasn’t that simple. As with everything in life, work and the corporate world took over his time and responsibilities, until a moment came when he felt lost, demotivated, and doing a job that had nothing to do with who he was, his passions, and—most importantly—what made him happy. It was then—while buying some pieces of art—that he came to the conclusion that if he hadn’t connected with the artist, and if he hadn’t understood their persona and life story, he wouldn’t have bought those pieces. He remembered how important those moments of connection are, and decided to create them to share them.
Studio visit with artist Cynthia Yee, in collaboration with OndaMX. Photography by Luis Rodrigo Trinidad.
PALANCA is not a tour platform; it is a project that seeks to create intimate and genuine moments between artists and art lovers/the art-curious, where they could have a more human and profound conversation about art, creativity, and life—going beyond just looking at artwork hanging in studios, fairs, or museums. And this didn´t only benefit people who want to know and learn more about art; it was also created to support the creatives themselves who were looking for inspiration and wanted to tell their stories.
PALANCA seeks to satisfy that immense need to connect with other people—which we need so much in this digital age—and it does so by seeking out special spaces that not everyone (or only those with what we in Mexico call 'palancas'—or leverage) would normally be able to access.
How did PALANCA evolve?
Today marks two years of this deeply human project. What was once the dream of a single person now lives through a team of people who are just as passionate as Gerardo. They connect countless artists who have opened the doors of their studios to talk with collectors, museum board members, Mexican and foreign travelers, fellow creatives, and many, many more people looking to experience Mexico through the minds of its creators.
During my chat with Gerardo, I told him that it really caught my attention—especially in this individualistic world, where projects or businesses are often born to elevate the person who creates them—to see a project where people, communities, meaningful dialogues, and someone else’s art are the primary purpose. Gerardo does not look for the spotlight, nor does he want to be the star; for him, the experience of the collective stands above the individual.
He shared something with me that made me understand the nobility at the very core of this project: years ago, he suffered the sudden loss of someone very close, leaving a deep longing for sharing and connecting more than time allowed. This longing—despite not being able to fulfill it then—was transformed into his life’s project. After my conversation with Gerardo, I was left reflecting and came to the conclusion that ideas born from an honest and deep desire are the ones that grow and evolve.
PALANCA is not a project born to satisfy an individual need; it flourishes from the desire to share and create spaces where all voices belong. It is not just about touring places; it is a bridge that allows us to reconnect with that very human desire to experience, listen, grow, and build bonds with people through art.
Studio visit with artist Yeni Mao, in collaboration with OndaMX. Photography by Luis Rodrigo Trinidad.