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                <text>&lt;h3&gt;&lt;strong&gt;La historia de "Volver a casa"&lt;/strong&gt;&lt;/h3&gt;&#13;
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&lt;h3&gt;Official Video&lt;/h3&gt;&#13;
&lt;p&gt;&lt;em&gt;&lt;/em&gt;&lt;/p&gt;&#13;
&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/hd61hM-SSS4" title="Volver a casa - Official video" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.instagram.com/avisaramama/?hl=es-la"&gt;Instagram&lt;/a&gt; &lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.murciocio.es/content/aa-mama-desafia-la-oscuridad-con-artefactos-de-luz"&gt;Article&lt;/a&gt;&amp;nbsp;&lt;/h3&gt;</text>
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©Sabrina Montiel-Soto, all rights reserved.</text>
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                    <text>External resource.&#13;
©Sabrina Montiel-Soto, all rights reserved.</text>
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                    <text>Center: &lt;em&gt;&lt;strong&gt;Entre dos Mares / Between two Seas.&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;Photography: fishing float, 1.50 m × 47 cm</text>
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©Sabrina Montiel-Soto, all rights reserved.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Traces of Erosion in Koekenstad &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;(Las huellas de la erosión en Koekenstad)&lt;/strong&gt;</text>
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                <text>&lt;h3&gt;Review by Sandra Caltagirone&amp;nbsp;in l’&lt;em&gt;Art Même&lt;/em&gt; n°67, 2015 /&amp;nbsp;extract&lt;/h3&gt;&#13;
&lt;em&gt;&lt;br /&gt;&lt;/em&gt;"The artist brings the perspective of an Indigenous woman from a country whose history has been deeply shaped by colonization to bear on a Flemish city historically enriched by its colonial past—a gaze, however, infused with humor and subtle poetry. Las huellas de la erósion en Koekenstad unfolds as a narrative in which erosion acts as a transformative force, bringing about a fusion between Venezuela and Koekenstad, the “City of Biscuits,” a nickname for Antwerp that recalls the many biscuit factories whose sweet aromas once wafted through the very heart of the city." (English translation by &lt;em&gt;Archivo Venezuela&lt;/em&gt; from the original French text published on the artist's &lt;a href="https://www.sabrinamontielsoto.net/las-huellas-de-la-erosion-en-koekenstad-venezuela-antwerp/"&gt;website&lt;/a&gt;)&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Interview with exhibition curator Philippe Braem ([by'ro] desk for contemporary art, Ghent, BE) and artist Sabrina Montiel-Soto (Maracaibo, VEN).&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/YTM2p7G0klQ?si=LgYCMbYMzHlIGbJ3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.sabrinamontielsoto.net/las-huellas-de-la-erosion-en-koekenstad-venezuela-antwerp/"&gt;Artist’s website&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="http://www.instagram.com/sabrinamontielsoto"&gt;Instagram&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>External resource. &#13;
©Sabrina Montiel-Soto, all rights reserved.</text>
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                <text>Sabrina Montiel-Soto’s &lt;em&gt;&lt;strong&gt;Traces of Erosion in Koekenstad&lt;/strong&gt;&lt;/em&gt; is a multidisciplinary installation that interweaves found objects, collage, sculpture, artistic photography, and video performance to explore history, memory, and cultural transformation. Drawing on materials and references from both Venezuela and the Belgian city of Antwerp—known as the “City of Biscuits”—the work examines processes of erosion, colonial history, and the exchange of knowledge and materials. Through this interplay, the exhibition creates a visual and sensory journey that connects territories, scents, and memories, evoking the layered legacies of cultural fusion.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/1408944"&gt;Venezuelan diaspora&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1726850"&gt;Installation art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1204271"&gt;Cultural fusion&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/873566"&gt;Colonialism&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/953489"&gt;Found objects (Art)&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1121970"&gt;Collage--Technique&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1164619"&gt;Sculpture&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1028043"&gt;Photography, Artistic&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1015898"&gt;Memory&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1000430"&gt;Amberes (Belgium)&lt;/a&gt;</text>
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&lt;h3&gt;&lt;a href="Studio International"&gt;Interview with Lucía Pizzani&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Rites, Seeds, and Refuge&lt;/strong&gt;&lt;/em&gt; channels narratives of migration through vegetal metaphors. Lucía Pizzani crafts clay totems pressed with textures of corn; eucalyptus; and plants integral to her Venezuelan heritage. These sculptures stand as guardians of cross-continental memory; intertwining her journey from Caracas to London with plants as carriers of home; survival; and metamorphosis. The installation includes collages on amate paper nestled among live vegetation.</text>
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        <name>community</name>
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                <text>&lt;h3&gt;&lt;a href="https://camilasalcedo.art/Memorial-Curation-Statements"&gt;Curatorial Statement&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.xpace.info/exhibition-event/memorial-work-by-artists-of-the-venezuelan-diaspora-curated-by-camila-salcedo/"&gt;Exhibition Overview&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.instagram.com/andreadudier/"&gt;Instagram&lt;/a&gt;&lt;/h3&gt;</text>
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            <description>An account of the resource</description>
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                <text>&lt;strong&gt;&lt;em&gt;Venezuela country of absences&lt;/em&gt;&lt;/strong&gt; is a series of GIFs created by Andrea Dudier for Instagram as an act of catharsis. She uses the GIF format analogously to poetry; as a revolutionary visual tool for liberation through images of decomposition. These 6-8 second snippets portray Venezuela's many absences—lack of electricity; water; medications; food; and freedom through simple gestures.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/1893920"&gt;GIF art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1892847"&gt;Social media art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/901974"&gt;Economic conditions in art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1408944"&gt;Venezuelan crisis&lt;/a&gt;</text>
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                <text>Gabriella Wright &amp; Archivo Venezuela</text>
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                <text>VDA-VA-013</text>
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        <name>economic crisis</name>
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        <name>Instagram</name>
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        <name>liberation</name>
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        <name>poetry</name>
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      <tag tagId="1295">
        <name>scarcity</name>
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        <name>Venezuela</name>
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                <text>https://sebastianrv.format.com/poem; https://www.xpace.info/exhibition-event/memorial-work-by-artists-of-the-venezuelan-diaspora-curated-by-camila-salcedo/</text>
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                <text>&lt;h3&gt;&lt;a href="https://visualartsnews.ca/2020/09/memorial-work-by-venezuelan-diaspora-artists/"&gt;Review&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://camilasalcedo.art/Memorial-Curation-Statements"&gt;Curatorial Statement&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Wake&lt;/strong&gt;&lt;/em&gt; is a bilingual poem reading performance by Sebastián Rodríguez y Vasti. The title serves as a metaphor for mourning; memorializing; and water—physical waterways; emotional drowning; and tears. Sebastián reflects on growing up near the water and his recent separation from family scattered across the world; questioning when they will see each other again.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/1057881"&gt;Performance art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1068667"&gt;Poetry readings&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/920656"&gt;Family separation&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1408944"&gt;Venezuelan diaspora&lt;/a&gt;</text>
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                <text>Gabriella Wright &amp; Archivo Venezuela</text>
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                <text>&lt;em&gt;&lt;strong&gt;Alternate Reality (Santa Paula, El Cafetal, Caurimare, Caracas)&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>Camila Salcedo</text>
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                <text>https://camilasalcedo.art/Alternate-Reality; https://vimeo.com/388279658</text>
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&lt;h3&gt;&lt;a href="https://www.xpace.info/exhibition-event/memorial-work-by-artists-of-the-venezuelan-diaspora-curated-by-camila-salcedo/"&gt;Exhibition Overview&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Alternate Reality (Santa Paula, El Cafetal, Caurimare, Caracas)&lt;/strong&gt;&lt;/em&gt; is a video collage by Camila Salcedo utilizing 3D drawings; Google satellite photos; Google user 360° images; and YouTube videos to recreate the neighborhoods she grew up in around Caracas. The work examines the Venezuelan government's banning of Google Streetview; creating a digital gap and challenging her ability to travel back since she has never returned home.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/893738"&gt;Digital art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1015913"&gt;Memory in art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1408944"&gt;Venezuelan diaspora&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1167676"&gt;Virtual environments&lt;/a&gt;</text>
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                <text>"&lt;strong&gt;&lt;em&gt;Fabricated Realities&lt;/em&gt;&lt;/strong&gt; by Alejandro Rizzo is a series of staged photographs about the current socio-political and economic issues within the context of Venezuela. In this particular exhibition, two photographs from the series are displayed. One aims to directly reflect on the general perception the Venezuelan population holds in regards to the military's authority. While the other aims to depict the hardships of daily life in Caracas, including people doing long line-ups to buy groceries, and pushing cars manually because of lack of gas. Using the language of documentary-style photography, he creates digital photo-collages that mix personal memory with larger issues." (&lt;a href="https://camilasalcedo.art/Memorial-Curation-Statements"&gt;Source&lt;/a&gt;)</text>
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&lt;h3&gt;&lt;a href="https://camilasalcedo.art/Memorial-Curation-Statements"&gt;Curatorial Statement&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;to the strangers i love deeply&lt;/strong&gt;&lt;/em&gt; is a textile installation exploring the artist's relationship to family; community and love through textiles as love gestures. The work includes delicate woven textiles with digitally printed family photographs of grandparents who still reside in Venezuela; creating warmth and familiarity while preventing precious moments from disappearing.</text>
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                <text>&lt;em&gt;&lt;strong&gt;A Suspended Space&lt;/strong&gt;&lt;/em&gt; is a VR environment recreating the artist's grandmother's bedroom in Caracas. The room floats like an island on water; representing both the Venezuelan-Caribbean coastline and the inaccessibility of this space; only reachable through memories and images. It includes family photographs; home movies; and modeled furniture from the artist's personal archive.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Arepa Viuda&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>&lt;h3&gt;&lt;a href="https://tribunemag.co.uk/2024/08/we-are-not-the-dirt-we-clean"&gt;Interview with José García Oliva&lt;/a&gt;&lt;/h3&gt;&#13;
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                <text>&lt;em&gt;&lt;strong&gt;Arepa Viuda&lt;/strong&gt;&lt;/em&gt; is a photographic series documenting undocumented Venezuelans making arepas in European food markets; beginning in Helsinki; Finland. This sculptural work of mixing; kneading and shaping dough reveals the history of an emigrated people; rooted in culinary traditions dating back to Caribbean natives. The folkloric process portrays both a humanitarian crisis and a symbol of resilience.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/930807"&gt;Food in art&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1408944"&gt;Venezuelan diaspora&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1161374"&gt;Undocumented immigrants&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/885137"&gt;Cultural heritage&lt;/a&gt;</text>
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