Terremoto: We would like to understand what motivates you to collect art. What role do collectors play in these types of fundraising events, and how do organizations sustain themselves through these acquisitions?
Mercedes Sáenz: For several years, Alejandra and I have found support auctions to be a meaningful way to make our most important purchases as collectors. We believe that participating in them is part of our commitment to the art ecosystem, as these initiatives not only allow us to access works that interest us but also have a direct impact on the artistic community. It’s beautiful to think that we can all contribute, no matter how small our role, because in the end, we need to strengthen this network together. These auctions play a crucial role in supporting emerging artists and independent projects, creating collaborative networks that keep the ecosystem thriving.
T: Now that you mention emerging artists, how do you weigh the acquisition of works by young artists versus the potential investment value of a piece?
MS: It’s funny because Alejandra and I have different points of view. I buy a lot of what I like. I love buying from young artists because they speak about the context we are living in, in a very real and current way. I fall in love with an artist, get obsessed, and end up buying several of their pieces. Sometimes, the artists don’t have a gallery, and you can visit their studio, listen to them, see how they work, and discover unexpected treasures. I love that direct contact.
Alejandra Ríos: Mercedes says what she loves most about buying works from emerging artists is supporting them. Often, they struggle to produce more work or need more funding. Buying their pieces is a way to help them directly. Also, at auctions, you discover new artists that you wouldn’t have found otherwise. It adds to the excitement of events like this. Going to an auction is very different from visiting art galleries or buying directly from the artists.
T: Do you think participating in an auction changes the value of what you buy?
AR: Totally, because there is real interaction with other buyers. You’re negotiating with many people, not just with the artist or gallery. This gives you certainty about whether you are making the right choice or not, because you always have this uncertainty.
MS: That is when the supply and demand game becomes real. If many people want an artwork, the price skyrockets. But we have also had moments where we thought a work would be highly contested, and in the end, we were the only bid. That is interesting because it gives you the chance to buy art at more affordable prices.
AR: Plus, many auctions have a purpose beyond acquiring art. You are supporting a cause you care about, like in the case of Terremoto or the auction for Palestine. You are fulfilling several purposes at once: buying art, supporting an organization, and having an experience. Also, if you go slightly over budget, it doesn’t feel as bad. It’s crucial to support the sustainability of the organizations that make up Mexico’s artistic system.
T: How do you choose which auctions to support? What are your criteria for selecting the type of institution or organization you want to support through your collection?
AR: We only regularly support two auctions: Terremoto’s and SOMA’s. Those are our two biggest purchases of the year. We love knowing that by acquiring those pieces, we are supporting something bigger. But if there is another cause that moves us a lot, like Palestine, we also participate. It depends on the cause and the pieces available.
T: From your perspective, what type of connection would you like to have with the institutions you support?
MS: I love being close to the projects I support. With Terremoto and SOMA, I feel involved; I understand their plans and learn from the process. That is very fulfilling. We also support other causes: we just went to an auction in support of Palestine, and we participated because it is a cause that deeply moves us, plus there were pieces by artists we love that are not often seen in the market, which are hard to find.
T: What kind of relationship would you like us, as institutions, to build with you as collectors?
MS: Well, in your case and in SOMA’s, these are two organizations we feel very close to. We understand very well what they are doing, where they are, what projects they have, and what they have learned. That makes us feel very involved. Also, getting close to these institutions means getting closer to the artists and their practices. These types of connections are very valuable to me. Plus, we can see through all that they do as an organization that the funds we contribute are being used to continue their mission, and fairly compensate for the practices of various agents in the art system. Also, in the case of Terremoto, we have seen the transformation they have gone through in recent years—from transforming the print magazine to digital, to venturing into a new artist residency program across the Americas.
T: Why do you support Terremoto? What value do you see in an institution like this? And why is it important that other collectors like you support us to help us carry out our work?
MS: First of all, because they’re definitely the first institution to run these residencies in Latin America. They’re groundbreaking in this society and on this continent in supporting Latin American artists. We’ve always really liked the importance they give to regional artists and practices.
AR: What I really appreciate is that they have this focus on everything queer, from the language, the publications, to how they include artists, collectors, and creators within the art world. You’re at the forefront of bringing these voices into the spotlight, and that’s very valuable. I also think another important aspect is the educational part that comes out of Terremoto. In some way, they provide a lot of material that enriches the understanding of contemporary art. And something I really value is that through Terremoto, especially with the auction, I feel a more direct connection with the artists. Unlike other auctions, where everything feels more distant and focused on collectors, galleries, or art advisors, at the Terremoto auction, there’s a sense of community; it’s more of an artists’ space for artists. That creates a different, much closer, and enriching experience.
MS: I also think that the idea of the palettes, the fact that each year you work with a different artist and the choice is so carefully thought out, has made us obsessed with collecting them. Since the first one, we’ve formed a collection in itself. Plus, the palettes are bold, provocative, and really reflect the unique stamp of Terremoto’s auction. I find that very special.
T: And finally, could you tell us a bit about your collection? How have you been building it? What questions do you ask yourselves when acquiring a piece, beyond supporting these artistic circuits and the ecosystem in general? How many pieces do you have so far? Is it mostly composed of Latin American artists, or have you explored other regions? In short, what would you say is the essence of your collection?
MS: Well, now that I’ve spent more time at home, walking through it and seeing it calmly, I’ve realized we have a lot of queer artists. Unintentionally—and maybe because we’re also a queer couple—our collection has taken that direction. I love discovering that, and it makes me wonder if, little by little, our collection will lean more in that direction. I wouldn’t want to limit myself because the art world is huge, and everyone contributes something valuable to a collection, but there’s definitely a strong presence of young artists, mostly Mexican or Latinx artists working in Mexico. Many times, it’s a matter of chance: you meet them here, visit their studios, hear their stories, and end up taking a piece. Another thing I’ve noticed is that we’re at a stage of reflection and reorganization of the collection. Alejandra has been telling me for a while that there are pieces that maybe no longer represent us or that could find another place. It’s curious how, over time, you question what you have and start thinking about letting go of some things to make room for new voices.
AR: I think we’re at that point now where we need to rethink whether we want some of these works to stay in our collection, as they no longer resonate with us as much.
MS: We also realized, thanks to the first survey and cataloging, that the percentages of artists were unequal, with more men than women. Since then, I started researching what women artists are doing in our country, in our context, and in practice here in Mexico. This has made me more aware of many things that didn’t matter to me before, but I think it’s important to have that information and know it. Of course, there are more men in galleries because it’s what sells most—we live in a patriarchy. However, it’s also in our hands to change that perspective, ask about women, and demand that galleries don’t just feature men in their first lineup. I think that’s also crucial. And well, I think we’ve been paying more attention to this, and we’ve bought much more work from amazing women.
AR: Above all, what we’ve been doing is acquiring more works by emerging artists. And something we really love is that our favorite artist is Ana Segovia. We have nine of her works. The first one we bought at a Terremoto auction in 2022. It was the first major piece we had by Ana, or one of the first, and that’s very important to us. It’s meaningful to have acquired a piece by our favorite artist.
Terremoto: We would like to understand what motivates you to collect art. What role do collectors play in these types of fundraising events, and how do organizations sustain themselves through these acquisitions?
Mercedes Sáenz: For several years, Alejandra and I have found support auctions to be a meaningful way to make our most important purchases as collectors. We believe that participating in them is part of our commitment to the art ecosystem, as these initiatives not only allow us to access works that interest us but also have a direct impact on the artistic community. It’s beautiful to think that we can all contribute, no matter how small our role, because in the end, we need to strengthen this network together. These auctions play a crucial role in supporting emerging artists and independent projects, creating collaborative networks that keep the ecosystem thriving.
T: Now that you mention emerging artists, how do you weigh the acquisition of works by young artists versus the potential investment value of a piece?
MS: It’s funny because Alejandra and I have different points of view. I buy a lot of what I like. I love buying from young artists because they speak about the context we are living in, in a very real and current way. I fall in love with an artist, get obsessed, and end up buying several of their pieces. Sometimes, the artists don’t have a gallery, and you can visit their studio, listen to them, see how they work, and discover unexpected treasures. I love that direct contact.
Alejandra Ríos: Mercedes says what she loves most about buying works from emerging artists is supporting them. Often, they struggle to produce more work or need more funding. Buying their pieces is a way to help them directly. Also, at auctions, you discover new artists that you wouldn’t have found otherwise. It adds to the excitement of events like this. Going to an auction is very different from visiting art galleries or buying directly from the artists.
T: Do you think participating in an auction changes the value of what you buy?
AR: Totally, because there is real interaction with other buyers. You’re negotiating with many people, not just with the artist or gallery. This gives you certainty about whether you are making the right choice or not, because you always have this uncertainty.
MS: That is when the supply and demand game becomes real. If many people want an artwork, the price skyrockets. But we have also had moments where we thought a work would be highly contested, and in the end, we were the only bid. That is interesting because it gives you the chance to buy art at more affordable prices.
AR: Plus, many auctions have a purpose beyond acquiring art. You are supporting a cause you care about, like in the case of Terremoto or the auction for Palestine. You are fulfilling several purposes at once: buying art, supporting an organization, and having an experience. Also, if you go slightly over budget, it doesn’t feel as bad. It’s crucial to support the sustainability of the organizations that make up Mexico’s artistic system.
T: How do you choose which auctions to support? What are your criteria for selecting the type of institution or organization you want to support through your collection?
AR: We only regularly support two auctions: Terremoto’s and SOMA’s. Those are our two biggest purchases of the year. We love knowing that by acquiring those pieces, we are supporting something bigger. But if there is another cause that moves us a lot, like Palestine, we also participate. It depends on the cause and the pieces available.
T: From your perspective, what type of connection would you like to have with the institutions you support?
MS: I love being close to the projects I support. With Terremoto and SOMA, I feel involved; I understand their plans and learn from the process. That is very fulfilling. We also support other causes: we just went to an auction in support of Palestine, and we participated because it is a cause that deeply moves us, plus there were pieces by artists we love that are not often seen in the market, which are hard to find.
T: What kind of relationship would you like us, as institutions, to build with you as collectors?
MS: Well, in your case and in SOMA’s, these are two organizations we feel very close to. We understand very well what they are doing, where they are, what projects they have, and what they have learned. That makes us feel very involved. Also, getting close to these institutions means getting closer to the artists and their practices. These types of connections are very valuable to me. Plus, we can see through all that they do as an organization that the funds we contribute are being used to continue their mission, and fairly compensate for the practices of various agents in the art system. Also, in the case of Terremoto, we have seen the transformation they have gone through in recent years—from transforming the print magazine to digital, to venturing into a new artist residency program across the Americas.
T: Why do you support Terremoto? What value do you see in an institution like this? And why is it important that other collectors like you support us to help us carry out our work?
MS: First of all, because they’re definitely the first institution to run these residencies in Latin America. They’re groundbreaking in this society and on this continent in supporting Latin American artists. We’ve always really liked the importance they give to regional artists and practices.
AR: What I really appreciate is that they have this focus on everything queer, from the language, the publications, to how they include artists, collectors, and creators within the art world. You’re at the forefront of bringing these voices into the spotlight, and that’s very valuable. I also think another important aspect is the educational part that comes out of Terremoto. In some way, they provide a lot of material that enriches the understanding of contemporary art. And something I really value is that through Terremoto, especially with the auction, I feel a more direct connection with the artists. Unlike other auctions, where everything feels more distant and focused on collectors, galleries, or art advisors, at the Terremoto auction, there’s a sense of community; it’s more of an artists’ space for artists. That creates a different, much closer, and enriching experience.
MS: I also think that the idea of the palettes, the fact that each year you work with a different artist and the choice is so carefully thought out, has made us obsessed with collecting them. Since the first one, we’ve formed a collection in itself. Plus, the palettes are bold, provocative, and really reflect the unique stamp of Terremoto’s auction. I find that very special.
T: And finally, could you tell us a bit about your collection? How have you been building it? What questions do you ask yourselves when acquiring a piece, beyond supporting these artistic circuits and the ecosystem in general? How many pieces do you have so far? Is it mostly composed of Latin American artists, or have you explored other regions? In short, what would you say is the essence of your collection?
MS: Well, now that I’ve spent more time at home, walking through it and seeing it calmly, I’ve realized we have a lot of queer artists. Unintentionally—and maybe because we’re also a queer couple—our collection has taken that direction. I love discovering that, and it makes me wonder if, little by little, our collection will lean more in that direction. I wouldn’t want to limit myself because the art world is huge, and everyone contributes something valuable to a collection, but there’s definitely a strong presence of young artists, mostly Mexican or Latinx artists working in Mexico. Many times, it’s a matter of chance: you meet them here, visit their studios, hear their stories, and end up taking a piece. Another thing I’ve noticed is that we’re at a stage of reflection and reorganization of the collection. Alejandra has been telling me for a while that there are pieces that maybe no longer represent us or that could find another place. It’s curious how, over time, you question what you have and start thinking about letting go of some things to make room for new voices.
AR: I think we’re at that point now where we need to rethink whether we want some of these works to stay in our collection, as they no longer resonate with us as much.
MS: We also realized, thanks to the first survey and cataloging, that the percentages of artists were unequal, with more men than women. Since then, I started researching what women artists are doing in our country, in our context, and in practice here in Mexico. This has made me more aware of many things that didn’t matter to me before, but I think it’s important to have that information and know it. Of course, there are more men in galleries because it’s what sells most—we live in a patriarchy. However, it’s also in our hands to change that perspective, ask about women, and demand that galleries don’t just feature men in their first lineup. I think that’s also crucial. And well, I think we’ve been paying more attention to this, and we’ve bought much more work from amazing women.
AR: Above all, what we’ve been doing is acquiring more works by emerging artists. And something we really love is that our favorite artist is Ana Segovia. We have nine of her works. The first one we bought at a Terremoto auction in 2022. It was the first major piece we had by Ana, or one of the first, and that’s very important to us. It’s meaningful to have acquired a piece by our favorite artist.
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CALLE ARTÍCULO 123 #6, INT100, COLONIA CENTRO, DELEGACIÓN CUAUHTÉMOC, CDMX 06048, MÉXICO 2024 // TERREMOTO
