Starting with the 1985 earthquake, Pedro Meyer gave a series of free workshops at his home, which were later moved to the Casa de la Fotografía del CMF. The workshops — held on Mondays — were a meeting and learning place for a group of young artists who were entering the field. Some of them were Gabriel Orozco, Tatiana Parcero, el Chivo Lubezki, Santiago Negrete, Ana Casas Broda, Oscar Necoechea, Bela Limenes, Eniac Martinez, Manuel and Mauricio Rocha, Rubén Ortíz, among others.

In addition, leading figures from Mexican and foreign photography and art attended the Monday Workshop, such as Gilles Peress, Miguel Rio Branco, Fred Ritchin, Pablo Ortiz Monasterio, Guillermo Gomez Peña, Sebastián Salgado, etc. The workshop always worked in a critical manner, with interesting and fruitful discussions. Nothing technical was taught, but rather the vision and ideas of the members were worked on.

Pedro Meyer’s role in the Monday Workshop was to be a kind of bridge between a teacher and a tutor. In the workshop, members presented their photographic work to the group to be discussed, questioned, and criticized, all in order to motivate each one to create and produce their own narrative and photographic language. Pedro encouraged the participants to work and produce, he was concerned about the personal concerns that each one had regarding the image, he questioned them and motivated them to think about what they wanted from their work, what was the path to follow, always assuming reflection as a fundamental part of the artistic task, along with the technical part.

Pedro’s virtue in the Monday Workshop was to guide this group of artists in a reflection on their own work and images and those of their colleagues, planting a seed that was installed in a generation of artists who are still active and producing works to date. The Monday Workshop welcomed a new generation of artists and actors from various professions, being a space for exploration and learning. It gave name to other workshops, such as the one on Fridays at Gabriel Orozco’s house (formed by four young artists and guests), the workshop on Tuesdays (in honor of Pedro Meyer) because he had therapy on Mondays, by Marcos López in Argentina, or the workshop on Tuesdays, a space that Pedro Meyer directed in his Foundation with new generations, for several years now.

In addition, leading figures from Mexican and foreign photography and art attended the Monday Workshop, such as Gilles Peress, Miguel Rio Branco, Fred Ritchin, Pablo Ortiz Monasterio, Guillermo Gomez Peña, Sebastián Salgado, etc. The workshop always worked in a critical manner, with interesting and fruitful discussions. Nothing technical was taught, but rather the vision and ideas of the members were worked on.

Pedro Meyer’s role in the Monday Workshop was to be a kind of intermediary between a teacher and a tutor. In the workshop, members presented their photographic work to the group to be discussed, questioned, and criticized, all in order to motivate each one to create and produce their own narrative and photographic language. Pedro urged the participants to work and produce, he was concerned about the personal concerns that each one had regarding the image, he questioned them and motivated them to think about what they wanted from their work, what was the path to follow, always assuming reflection as a fundamental part of the artistic task, along with the technical part.

Pedro’s virtue in the Monday Workshop was to guide this group of artists in a reflection on their own work and images and those of their colleagues, planting a seed that was installed in a generation of artists who are still active and producing works to date. The Monday Workshop welcomed a new generation of artists and actors from various professions, being a space for exploration and learning. It gave name to other workshops, such as the one on Fridays at Gabriel Orozco’s house (formed by four young artists and guests), or the workshop on Tuesdays, a space that Pedro Meyer directed in his Foundation with new generations, for several years now.