CLAVO SPACE + CASA UC

Charity Auction · Fundación Pavarur

On December 10, 2025, Casa UC became more than an exhibition space. For a few hours, the building breathed community, attentiveness, and collaboration. This was not merely a charity auction, but a collective act of recognition: recognizing the value of art as a tool for inclusion, and recognizing—without condescension—those who create from diverse rhythms, perspectives, and different ways of being in the world.

Organized by 212 Productions with the collaboration of the Universidad de la Comunicación, through an alliance between Casa UC, CLAVO Space, and Fundación Pavarur, the auction aimed to raise funds for children and young people with Down syndrome who participate in the foundation’s painting workshops.. The works auctioned—approximately fifty pieces—were created entirely by them: paintings that asked for no permission or translation, and that occupied the space with a difficult-to-ignore honesty.

The spatial arrangement echoed this intention. On the upper level of Casa UC, works by artists associated with CLAVO were presented, establishing a quiet dialogue between practices, languages, and generations. On the lower level, the Fundación Pavarur exhibition unfolded as its own territory: groups of images organized by affinity—macaws, roosters, cats, landscapes, Christmas motifs—revealing both a plurality of voices and a sensitive curatorial intuition.

The collaborating within our team is the result of how thoughtful and passionate we are about art.

Juan José Carstens Gudiño taking photographs of the instalation.

The auction was live and silent. Bids were handwritten on paper, accumulating names, numbers, and small but meaningful decisions. There was no spectacle, no artificial urgency. The atmosphere felt intimate, almost domestic, as if everyone present understood they were participating in something that required care and attention.

Behind this atmosphere was an extensive collaborative effort.

The curatorial approach was developed jointly, with the participation of Gaby Silva—CLAVO artist and painting instructor for the students—Guillermo Clemente, curator and CLAVO collaborator, and Abel González, responsible for the installation and a restrained museography that allowed the works to breathe without excessive mediation. General production was led by Ingrid Barajas, CEO of 212 Productions and CLAVO Space, with co-production by Salvador Corrales, Rector of Universidad de la Comunicación, and Helen Ortiz, Director of Casa UC, supported by an expanded team of producers, curators, and advisors.

Beyond numbers—which in this case feel secondary—the impact of the event was direct and tangible: 100% of the proceeds were allocated to Fundación Pavarur and, through it, to the participating artists. Yet the true reach went further. The auction functioned as an act of symbolic validation: an acknowledgment that their work holds value, that their time, process, and sensitivity matter, and that art can also be a path toward personal development and, eventually, autonomy.

One of the most meaningful moments of the evening took place away from the center of attention. In addition to the nine young artists who presented their work and attended the auction as exhibitors, other members of the foundation actively participated in various roles, including serving as hosts, servers, ushers, and even the event photographer. Watching them navigate these responsibilities—with confidence, pride, and ease—was one of the clearest images of what inclusion looks like when it stops being rhetoric and becomes a daily practice.