The Auction as a Tool to Continue Opening Spaces for Thought: Terremoto Auction 2025

Terremoto speaks with Andrea Bustillos to learn how she has approached the curation of this edition of the auction. From her experience, she reflects on the balance between the market and community, the impact of this format on the visibility of artists, and the fundamental role the auction plays in the sustainability of independent cultural […]

Terremoto speaks with Andrea Bustillos to learn how she has approached the curation of this edition of the auction. From her experience, she reflects on the balance between the market and community, the impact of this format on the visibility of artists, and the fundamental role the auction plays in the sustainability of independent cultural projects like Terremoto.

This 2025 marks the sixth edition of the annual Terremoto fundraising auction, an event that largely sustains the organization and is a crucial exercise for continuing to imagine shelters for critical thinking, promoting artistic and curatorial practices in our Americas, and developing a more equitable art scene on the continent. This year, the Terremoto auction is curated by Andrea Bustillos, an art historian, curator, and contemporary art manager with a solid track record in the direction and coordination of cultural projects. She is an advisor for private collections and has contributed with reviews and curatorial texts, solidifying her position as a key figure in the contemporary art scene in Mexico.

Terremoto: Given that Terremoto defends a critical and expansive perspective on artistic practices in the region, how do you approach the selection of works for the auction? What criteria guide your decision, and how do you balance the diversity of genres, styles, and media to construct a coherent curatorial discourse within this format but also aligned with what Terremoto defends?

Andrea Bustillos: More than starting with a selection of works, I began with a list of artists whose work interests me and is conceptually and formally relevant. A key criterion was the diversity of media and approaches, gathering proposals ranging from painting and sculpture to photography, textiles, and other formats. This variety expands the spectrum of buyers and allows each piece to engage in a dialogue from its uniqueness within a shared context.

While there are artists from different generations, the emphasis is on the plurality of proposals and languages, rather than a generational representativeness as a central axis. Regarding gender, I did not follow a predefined scheme, but the diversity occurred naturally. Beyond any quotas, I’m interested in the work itself and its potential within this format. I also made sure to include works in different price ranges to make the auction accessible to different types of collectors and buyers.

Once the selection of artists was defined, a dialogue process began to choose the specific pieces. It is crucial to know what works are available, which ones they are interested in presenting in this context, and what they are willing to donate. Then, commercial considerations come into play, such as the interest a piece may generate, the artist’s trajectory in the market, and its potential within the auction format. This process is an exchange that seeks a balance between the artist’s vision, the relevance of the work in the auction, and its appeal to buyers.

Rather than building a traditional “curatorial discourse,” my interest is to present a broad panorama of possibilities, generate connections between works and buyers, and create a dynamic that benefits both the artists and Terremoto.

Terremoto: What role do you think the auction plays in the dissemination of contemporary art, both in our region and on the international circuit? And in terms of impact, how does this format influence an artist’s career, especially when it comes to emerging names?

Andrea Bustillos: Auctions serve as a showcase for artists, helping to spread their work and establish their position, especially for younger or emerging artists. However, they are also relevant for mid-career and established artists, as showcasing their work alongside young artists allows them to generate new interpretations and ways of engaging with the audience and the market.

Additionally, the auction format itself strengthens the desire and increases demand, which not only impacts the commercial value of a piece but also its symbolic value. The competition among buyers elevates the perceived relevance of a piece and, by extension, of the artist who produced it.

Beyond its immediate sales impact, auctions also play a role in building the art market. They can influence how certain artists are perceived by collectors, curators, and cultural agents, consolidating their presence in the circuit. For established artists, a prominent sale at an auction can reaffirm their position and generate interest from new audiences. For emerging artists, the auction can be a turning point, putting their work in contact with collectors who may not have known them and who could become future buyers or even promoters of their work.

Moreover, in a broader context, auctions act as a barometer of the market, reflecting trends, consolidating interest in certain languages and practices, and even helping to redefine the value of certain artists or movements at a given time.

Terremoto: How do you see the relationship between art and the market in the context of an auction? And regarding the value of a work, what do you think about how it is shaped in this format compared to other forms of distribution or exhibition?

Andrea Bustillos: It is important to emphasize that this is a fundraising auction and not a secondary market auction. I make this distinction because, while the desire and competition among buyers can increase the value of a piece, there is no speculative game here as in traditional secondary market auctions.

In a charitable auction, the desire to support the cause plays a key role in the price dynamics. While the artist’s career influences the valuation of the work, the buyers’ willingness to contribute to the fundraising can raise the final amounts more flexibly than in a conventional auction.

In market terms, an auction is not only a point of sale but also a space where value is built through the context in which the work is presented, the response of the public, and the visibility the artist gains within a broader ecosystem.

Terremoto: The auction not only allows for the acquisition of artworks, but it is also an opportunity for the community to engage with the work of Terremoto. What impact does this event have on the local artistic community, and how does it help strengthen the support network for the organization?

Andrea Bustillos: As with most social events around contemporary art, this auction is a moment of gathering, interaction, and celebration that strengthens the community. Beyond buying works, the fact that so many people come together—either physically or remotely—with the goal of supporting a project like Terremoto is in itself an act of generosity and a sign of the desire to be part of something bigger.

In Mexico, the most relevant auctions (MARCO, SOMA, Arte Vivo) are charity events, whether supporting social causes or artistic institutions and projects. As we know, there are very few government supports in Mexico, yet we have a very solid artistic scene that has been strengthened by the sense of community we have built over the years. The effort made by artists, curators, cultural managers, and collectors is the engine that allows the ecosystem to keep growing and developing, which is invaluable.

Terremoto: How does the auction help Terremoto continue generating spaces for reflection and collaboration around contemporary art, especially in such a challenging context for non-profit cultural organizations?

Andrea Bustillos: The auction is a fundamental tool for Terremoto to continue generating spaces for reflection and collaboration around contemporary art. In a context where funding for non-profit cultural projects is increasingly limited, this event not only allows for the raising of essential funds for its operation but also strengthens the support network among artists, collectors, and other actors in the artistic ecosystem.

Terremoto seems to me one of the most important projects in Mexico for generating thought. Through its magazine — previously printed and now digital — it has established itself, over more than ten years of work, as a space for reflection and critical thinking. Now, with the Travesía residency program, it expands its impact by inviting artists to imagine and rethink the world we live in and its possible futures. Amid the existential crisis we are experiencing, it is essential to generate spaces for thought that trigger new ways of addressing reality. Travesías Terremoto, the residency program launched in 2023, is, in this sense, one of the most proactive and interesting initiatives I have encountered.

In addition to its innovative approach, the way it is carried out is relevant: a 100% funded program that includes research, production, and dissemination, offering a broader and deeper framework for exchange and community. Unlike many residencies focused on immediate production within an isolated bubble, Travesías bets on a long-term process, rooted in dialogue and reflection.

For some time, Terremoto has been advocating and defending fair labor practices, being one of the few magazines where all collaborations are paid. Its commitment to equity and the sustainability of cultural work is clear, which makes the need for the auction even more evident: raising funds that guarantee the continuity of these types of initiatives and the strengthening of a more just and vibrant artistic ecosystem.

Terremoto: Lastly, what challenges and surprises have you encountered in curating a contemporary art auction?

Andrea Bustillos: It has definitely been a great challenge and a completely new experience for me. One of the main challenges has been asking artists to donate a piece, which itself implies negotiation and reflection on the conditions of artistic work. Of course, there were artists who rejected the invitation because they feel it is unfair that their work is the only one that doesn’t receive direct payment. This is a highly relevant and necessary discussion within the artistic ecosystem, and this experience has made me reflect even more on the issue.

Another challenge has been the selection in commercial terms. There are artists whose work I find deeply relevant, but who may not necessarily fit the auction format. In some cases, rather than benefiting them, it could affect the perception of their career in the market. It has also been a learning experience to accept that, although I had specific pieces in mind, artists donated what they could or what makes sense for them in this context, and that is something that should be approached with absolute respect and gratitude.

However, the biggest surprise has been the enthusiasm and generosity with which many artists accepted to participate. This reinforces the sense of community that is so deeply ingrained in our field and demonstrates the commitment to initiatives like this, which seek to strengthen the structures that support reflection and artistic production.