Marisa Ravalli From FUTURA Prague to INHABIT New Mexico FUTURA to INHABIT

Firstly, thank you for asking me to take part in the interview — I'm happy to collaborate on this! There aren't many contemporary fine art private galleries here in Albuquerque. Santa Fe has more and larger privately funded institutions, and the museums there are state-funded. Of course, the situation is difficult everywhere, and there are not many regular art collectors here. Santa Fe has a better situation with a more pedestrian-friendly environment, but business spaces are not readily available and rent prices are extremely expensive. New Mexicans do enjoy the arts, and there are innumerable artists living and moving here. I have more and more visitors all the time, so the need and want is evident.

I can't speak for the whole of New Mexico, as each town and city is different. It seems there may be more chances to find funding in smaller towns which are trying to start a new art scene. There is funding available at the state level, but it's very competitive, and a private gallery can only apply for funding once it has been running for over three years — and it's not guaranteed, only a few spaces are chosen. There is another source in some smaller towns called "Main Street." This is a national organization, and they have funding to do promotions and advertising to try and support small businesses. But private is private, and non-profits are always given priority — regardless of the actual level and programming — and even these spaces have to seek other means of funding.

Where do I even begin to answer that question? It is in every corner, every crevice — there is no avoiding it. It's the first thing we are confronted with when we wake and the last thing we see before we sleep. Every conversation circles around it, and most artists and arts professionals feel helpless in its wake. It's extremely draining! All we can do is address the issues and fight for our existence and future, support one another to endure this tyranny and attempt at dictatorship.

How nice of you to ask about that project! I was a brand-new gallery and wanted to do something to bring the local community to the arts. It was presented outside the gallery space, so it was accessible day and night and to anyone. We were also freshly under the new governmental "regime" here, and spirits were very low. I wanted to do the project initially with the local elementary school, but the teachers weren't interested. So I put the word out, and an organizer from a church in Albuquerque was interested in the project. She said they meet once a month with a group of "troubled" youth — kids living on the streets, or in foster care, and detention-center inmates. It was amazing working with them, and they all wanted to participate!

I liked the idea of putting the power back into their hands and allowing their voices to be heard. These are kids who are always talked down to and ignored, so this was a chance for them to be the creators and the source of inspiration to others. The local community enjoyed touring the "Field," and it was sad, heartwarming, and inspiring reading all their various responses! I would love to be able to do more projects like this, but now that the gallery is fully running, I barely have enough time to manage the regular program and the space.

I would adore to show more Czech and European artists — artists from all over! Right now, I'm showing work from Sharon Kivland, based in the south of France. I've known Sharon for many years, which obviously makes it easier. Due to limited funding, I have to rely on assistance from friends and just manage what I can for each show until I can secure funding and develop a collector base who regularly support the Galerie.

Until now, I have been curating small group exhibitions with a very focused concept. It's been wonderful connecting different artists who work in a similar way or with similar topics — most of them had never met or had only heard of each other's work. I try to work closely with the artists, and the shows grow into fruition that way. I also put out open calls in U.S. magazines and am always open to looking at new work. I manage the shows on an extremely limited budget — it's a miracle I've been able to do what I have so far, and that's also only with help from the artists and their openness to trust in me.

Jirka helps whenever he is here and able. He has his own busy career and lives mostly in Prague. I love his exhibition design sensibility, and we are great at collaboration! One of our first projects together was "Music for Prague" — a collaboration between Brian Eno and Jirka. I really loved asking artists from other countries to come to a newly open Czech Republic to collaborate with artists they had never had a chance to see, and vice versa. I'd love to continue doing shows like that — but need better funding to make that happen.

The answer is simple: no compromise! It was a bit of a shock starting all this. I guess I just freaked out when Trump was reelected and felt this was the only way I could keep my sanity over the next four years! Also, still riding on the coattails of COVID, some people were and still are wearing masks into the Galerie. It's been slow and hard to get people to come back out and get together for openings.

The daily running of the Galerie is so easy, and I don't have to answer to anyone. What a pleasure not having to bicker and argue about silly things all the time! I can also deliver on my promises and don't have to make excuses for others' incompetency. If something goes wrong — it's all on me. Obviously, it would be nice to have more help. Things have grown so quickly, I can barely keep up. I may take on a partner down the line with how things are growing. It's all about the work and getting people in to see it. So amazing to hear all the wonderful feedback every day and meeting so many new people.

It's definitely a combination of both, and equally important. I believe it's critical to remember the limits of social media and the algorithms. Only those who pay for boosts and sponsored ads will ever get the million-odd followers, and I don't believe in handing out even more money to the billionaires! I don't judge artists' pages based on these numbers or how many likes. I just look at the work and try to ignore the ads. I don't use any kind of social media for myself and don't have time to watch kittens kneading pizza dough! I do love that I can scroll and find new artists whenever I can. However, the in-person experience is what's most important to me.

We can't allow art spaces to close down and simply rely on the internet to see art. Art needs to be experienced! Every day I'm having amazing new conversations in the Galerie about the work that's on view — nothing can replace that. One of the Galerie's main goals is to reach a wider public, people who don't normally visit museums or even have an interest in art. I wasn't sure this was possible, but every day someone new wanders inside asking, "What's this about?" I've had people break down in tears, some saying the work has inspired their lives. People are getting more involved, wanting to understand and opening up new discussions.

I have to admit, I now spend the majority of my day discussing the work in the shows. I welcome every single person who comes in and tell them I'm here to answer any and all questions. Dead are the days of the cold empty white cubes, with only an arrogant underpaid employee behind a desk. Art is meant to be discussed! I want to create a new kind of gallery experience — one where the viewer doesn't have to be just a viewer, but can also become a participant and develop a relationship with contemporary art.