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                <text>&lt;em&gt;&lt;strong&gt;#Darién&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>Tatiana Rojas Ponce</text>
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                <text>documentary short film, video.</text>
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                <text>“El Norte es una loquera”. Notas sobre el documental ‘#Darien’, de Tatiana Rojas Ponce. https://rialta.org/notas-darien-documental-tatiana-rojas-ponce/ &lt;br /&gt;&lt;br /&gt;Soundtrack: "El norte es una loquera" &lt;iframe width="560" height="315" preview:="" https:="" www="" youtube="" com="" watch="" v="obSEIUxRKbU" src="https://www.youtube.com/embed/IhMeHpld0PU?si=rPI_iqqNZYrYb_36" 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;a href="https://fablasalvajemagazine.com/2024/06/25/darien-entrevista-a-la-documentalista-tatiana-rojas/"&gt;Tatiana Rojas (interview)&lt;/a&gt;&#13;
&lt;h3&gt;&lt;a href="https://archivovenezuela.com/items/show/371"&gt;Consulte la versión en español de esta entrada aquí&lt;/a&gt;.&lt;/h3&gt;</text>
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                <text>IMDb https://www.imdb.com/title/tt34380539/companycredits/?ref_=tt_dt_cmpy</text>
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                <text>Two glam queens embark on a surreal journey into the Darien jungle, confronting haunting experiences and personal challenges that reshape their understanding of life and redefine their sense of self. (IMDb) "“I was seeing how more and more Venezuelans were appearing in Manhattan streets, and it was shocking because, historically, Venezuelans could only reach the U.S. by plane. It was impossible by land precisely because the Darien jungle was impenetrable, and now that it wasn’t, New York was definitely a new city for me” (Tatiana Rojas)</text>
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                <text>documentary short film, migration, diaspora, Venezuelan exodus, Darien, Panama, female migration, motherhood</text>
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                <text>&lt;h3&gt;&lt;a href="https://polivision.modlangs.gatech.edu/5-venezuelan-artists-capturing-migration-in-their-work/"&gt;Article&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.cassandramayela.me/maps-of-displacement"&gt;Curatorial statement&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://craftcouncil.org/articles/weaving-their-stories/"&gt;Profile&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://madebyvoz.com/blogs/vozwoman/vozwoman-cassandra-mayela"&gt;Interview&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://marahoffman.com/pages/cassandra"&gt;Interview&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>"&lt;strong&gt;&lt;em&gt;Maps of Displacemen&lt;/em&gt;&lt;em&gt;t&lt;/em&gt;&lt;/strong&gt; is Cassandra Mayela's first solo exhibition in New York City. Mayela studies Venezuelan diasporas through the medium of textiles, specifically garments with significant past lives. Maps of Displacement is an ongoing participatory project - this weaving is the first of an ongoing sculptural study that focuses on the Venezuelan migration to regions around the world. The sculpture is comprised of New York-based Venezuelan immigrants' clothing that Cassandra Mayela collected, starting April 2021. The clothing is cut and then woven into a tapestry to illustrate how fragments ultimately comprise a whole. Through tactile memory and collective nostalgia, Cassandra poses a poignant question — how is identity shaped by the things we carry and physical places we occupy? Maps of Displacement uses non-verbal storytelling to explore identity through fabric and touch. Following this exhibition, Cassandra plans to continue the project in other areas that have been significant to the Venezuelan exodus." (&lt;a href="https://olympiart.org/cassandramayela"&gt;Source&lt;/a&gt;)</text>
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&lt;br /&gt;&#13;
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&lt;br /&gt;&#13;
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                <text>How long can you hold your breath and follow a string to the bottom of a waterfall? Contra el régimen de lo fluido asks how you would fall knowing you must resist. These poems are mnemonic screenshots of the author’s request for affirmative asylum to relieve the individual’s fear of repercussions in her home country, fragments that dream of becoming ruins of a present still unfolding against the systems of power, (the) body, language or all the systems (Ugly Ducking Press).</text>
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&#13;
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                <text>Spanish&lt;br /&gt;French edition: &lt;strong&gt;&lt;em&gt;Tu parles comme la nuit&lt;/em&gt;&lt;/strong&gt;, &lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;span&gt;Editions Payot &amp;amp; Rivages, 2021.&lt;/span&gt;</text>
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                <text>&lt;p&gt;&lt;strong&gt;Winner of the Universidad Central Novel Contest in 2019&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;*"How does a Venezuelan migrant survive in Bogotá while besieged by depression and the voice of madness, trapped in a fractured marriage, with a child who dries her tears, and whose only source of kinship is literature? She writes. She writes letters to her friend F., pouring into them her yearning to inhabit words, her daydreaming reveries, her poems—'trash can filler' and 'her own nonsense,' as she calls her writings. In these letters, she also recounts what it means to leave a country with no place for her and arrive in another where her nationality erases her individuality.&lt;/p&gt;&#13;
&lt;p&gt;The novel that won the Universidad Central Novel Contest in 2019 sheds light on the vortex of a transnational social crisis and a public health issue, told through the deeply intimate lens of a first-person narrative that flows boldly and authentically between epistolary prose and free verse, between past and present—in the end, between consciousness and the abyss of what takes hold of her voice."*&lt;br /&gt;(&lt;a href="https://www.amazon.com/-/es/Sonia-Esmeralda-Rojas/dp/9582604530"&gt;&lt;strong&gt;Source&lt;/strong&gt;&lt;/a&gt;, translated from Spanish by Archivo Venezuela)&lt;/p&gt;&#13;
&lt;p&gt;*"In 2018, like more than a million of her compatriots, Vaitiere Rojas was forced to flee a Venezuela devastated by economic crisis. Exiled in Colombia, in the outskirts of Bogotá, she finds herself in the skin of the destitute and rejected foreigner. Identifying with K. from &lt;em&gt;The Castle&lt;/em&gt;, in a world where nothing is reassuring or comprehensible, she manages to transcend her experience through letters addressed to Kafka.&lt;/p&gt;&#13;
&lt;p&gt;Through small yet powerful strokes, in vivid and particularly evocative scenes, she captures &lt;em&gt;sur le vif&lt;/em&gt; the fate of migrants—the struggle for survival, the overwhelming lack of everything, xenophobia. &lt;em&gt;Tu parles comme la nuit&lt;/em&gt;, a true gem of literature, offers us a voice that is both sincere and profoundly moving." (&lt;a href="https://www.amazon.com/parles-Litt%C3%A9rature-%C3%A9trang%C3%A8re-Rivages-French/dp/2743652500/ref=sr_1_1?crid=2FLCI3282YSC5&amp;amp;dib=eyJ2IjoiMSJ9.0hC1sZ2V3OY16YSWrqQNa-RlccIaCRGC9v0fIiCQOJCyMMN-piBGSZUTpfx-TPfJRQKPKM2b67pU8uA3Xjmvk4RvrI5d6hfuV_pS_YSJJDSf4xrAvQNfCBpg_zBIe-snC5-s9s4oktF8lf-twZ6203vffzqdTYcCWjtdVbiLTpju9chI7rcKzyjvWkUs8WYNQzDWNIoMfL-d8EdsXQpZz0lporBvL3WNoqpqkfWH7UE.6ZNse4FdCT3PlUkeGF90U7HMnDjxdy6sc9KC9pUXTpE&amp;amp;dib_tag=se&amp;amp;keywords=tu+parles+comme+la+nuit&amp;amp;qid=1737899864&amp;amp;s=books&amp;amp;sprefix=tu+parles+comme+la+nuit%2Cstripbooks%2C99&amp;amp;sr=1-1"&gt;Source,&lt;/a&gt;&amp;nbsp;translated from French by Archivo Venezuela).&lt;/p&gt;</text>
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                <text>&lt;a href="https://api.pageplace.de/preview/DT0400.9789582604547_A40096519/preview-9789582604547_A40096519.pdf"&gt;Excerpt from &lt;em&gt;Algo habla con mi voz.&lt;/em&gt;&lt;/a&gt;&lt;em&gt;&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;a href="https://www.ucentral.edu.co/node/7847"&gt;Article on the Universidad Central Novel Contest&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.eltiempo.com/bogota/vaitiere-rojas-ganadora-de-concurso-de-novela-de-universidad-central-434236"&gt;Interview with Vaitiere Rojas in &lt;em&gt;El Tiempo&lt;/em&gt; on &lt;em&gt;Algo habla con mi voz&lt;/em&gt;&lt;/a&gt;&lt;em&gt;.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/MK-sPyEmowI?si=Rw8NvXOdyM3ROMyD" 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;/em&gt;&lt;em&gt;Interview with Vaitiere Rojas and Delphine Valentin (editor) on the publication of the French edition of Algo habla con mi voz (Tu parles comme la nuit).&lt;/em&gt;</text>
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ISBN: 9782743652500, 2743652500 (French)</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;
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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;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;p&gt;&lt;strong&gt;Actresses:&lt;/strong&gt; Cristina Martínez and Carolina Belandia&lt;br /&gt;&lt;strong&gt;Performed at:&lt;/strong&gt; La Escalera de Jacob, Madrid, 2018&lt;/p&gt;&#13;
&lt;p&gt;*"This is a short-format theatrical proposal born from the intention of bringing to light the issues swept under the rug—cases of human rights violations concerning life, property, and family in Venezuela that must be remembered and never forgotten. It is imperative to tell our own stories to remain united in the future and not so distant from our own people. This work is a tribute to the fallen—young individuals who must be remembered, as they embody what we, as a nation, have become, and each of them multiplies within us.&lt;/p&gt;&#13;
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&lt;h3&gt;&lt;a href="https://www.revistaotrapparte.com/literatura-iberoamericana/arqueologia-sonambula/"&gt;Review by Graciela Montaldo in Revista Otra Parte (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.elnacional.com/papel-literario/juan-cristobal-castro-y-las-ruinas-sonambulas-de-caracas/"&gt;Review by Camila Pulgar Machado in Papel Literario, El Nacional (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://tropicoabsoluto.com/2021/12/26/reflejos-y-reflexiones-de-las-ruinas-en-arqueologia-sonambula-de-juan-cristobal-castro/"&gt;Review by Humberto Medina in Trópico Absoluto (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1506293254"&gt;WorldCat bibliographic record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>OCLC: 1506293254 | ISBN: 9798701620160</text>
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                <text>Mejías constructs narratives in which the silence of the domestic body—engaged in the repetitive performance of everyday tasks—comes into dialogue. Drawing from the autobiographical, the artist creates images that articulate her concerns with the archive, forgetting, physical absence, identity, displacement, family memory, affective and political representation, the intimate-private and public-social spheres, and motherhood (&lt;em&gt;&lt;strong&gt;Galería ABRA&lt;/strong&gt;&lt;/em&gt;). In this context, mothering stands in opposition to normative expectations; care takes on a central role that envelops the viewer and invites reflection on this symbiosis—often taken for granted (translated from the original Spanish by &lt;em&gt;Archivo Venezuela&lt;/em&gt;).</text>
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&lt;h2&gt;&lt;a href="https://vimeo.com/582745223"&gt;Asignaciones Nº 1&lt;/a&gt; (Carelyn Mejías, 2021)&lt;/h2&gt;&#13;
&lt;p&gt;Creative process of everyday mothering. In front of the camera: enter, act, exit. Exercises in memory and archiving. Reactivation of caring for another body, another life (&lt;a href="https://vimeo.com/592351654"&gt;courtesy of the artist&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;!-- Video 3 --&gt; &lt;iframe width="640" height="360" title="vimeo-player" src="https://player.vimeo.com/video/592351654?h=0f3d045302" frameborder="0" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&#13;
&lt;h2&gt;&lt;a href="https://vimeo.com/592351654"&gt;Asignaciones Nº 3&lt;/a&gt; (Carelyn Mejías, 2021)&lt;/h2&gt;&#13;
&lt;p&gt;Creative process of everyday mothering. In front of the camera: enter, act, exit. Exercises in memory and archiving. A reactivation of care for another body, another life (&lt;a href="https://vimeo.com/592351654"&gt;courtesy of the artist&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;a href="https://archivovenezuela.com/items/show/462"&gt;Consulte la versión en español de este registro&lt;/a&gt;&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;</text>
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                <text>A novel that tells us to not look away from the horror that everybody who is forced to migrate has to live. While her world crumbles completely, the narrator from Atrás queda la tierra connects a series of memories, words and images, to write a moving non-fiction novel about the pain that dispossesion and violence provoke. This is the story of millions of venezuelans, but also the story of anyone who has had to suffer exile. Atrás queda la tierra is the testimony of the catastrophe of a nation that a mother is trying to tell her son, a little boy that doesn´t feel part of any country, but all of them at the same time. Arianna de Sousa, prized journalist from venezuelan media, gives us a first dazzling work about the search of beauty even in the most hostile worlds.&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/f0a041024853cc23a2557aeff0f52d94.jpg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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&lt;h3&gt;Book promotion (Book trailer)&lt;/h3&gt;&#13;
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&lt;h3&gt;&lt;a href="https://www.revistaotrapparte.com/literatura-iberoamericana/atras-queda-la-tierra/"&gt;Review by Enrique Benítez Palma in &lt;em&gt;Revista Otra Parte&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://elpais.com/america-futura/2024-07-21/atras-queda-la-tierra-el-gran-libro-sobre-el-exodo-venezolano-es-la-carta-de-una-madre-a-su-hijo-de-9-anos.html"&gt;Review by Marco Avilés in &lt;em&gt;El País&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://latinamericanliteraturetoday.org/es/rese%C3%B1as/atras-queda-la-tierra-de-arianna-de-sousa-garcia/"&gt;Review by Gabriel Payares in &lt;em&gt;Latin American Literature Today&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://letralia.com/ciudad-letralia/poesia/2022/10/10/atras-queda-la-tierra-arianna-de-sousa-garcia/"&gt;Review by Luis Perozo Cervantes in &lt;em&gt;Letralia&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.eluniversal.com/entretenimiento/126401/atras-queda-la-tierra-un-libro-sobre-la-migracion-venezolana"&gt;Article about the book in &lt;em&gt;El Universal&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1437556492"&gt;WorldCat Record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;a href="https://www.candaya.com/libro/aunque-me-extinga/"&gt;Candaya Poesía&lt;/a&gt;</text>
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                <text>&lt;p&gt;"A poetic song of migration, uprootedness, and love as resistance against pain and silence. &lt;em&gt;Aunque me extinga&lt;/em&gt; is a book written from the perspective of migration, foreignness, and displacement, woven together through desire and love as barricades against the siege of death and silence. Written during the author's process of "regularizing" her migration status, this collection of poems evokes family history, distance from one’s origins, and the arrival in a new country—the construction of an imagined space and the will to find alternative ways to express and share love.&lt;/p&gt;&#13;
&lt;p&gt;For in these poems, love is a reverberation that transforms and subverts, a mode of both individual and collective identification, a process rather than a state or destination. Interwoven with poetry and the figure of César Vallejo, &lt;em&gt;Aunque me extinga&lt;/em&gt; becomes a song against pain and abandonment, a collection deeply rooted in the present—a social context that demands our attention and calls for more generous ways of understanding those who leave their homelands behind.&lt;/p&gt;&#13;
&lt;p&gt;“This book is a hand that pushes us toward life. As the author reminds us: ‘writing is a way to stave off death,’ to build a new nest, a refuge of beauty—one that is not devoid of conflict, but free from violence. That is why, in these pages, there is a voice that moves from the wounds of migration to the creative core of love. Farewell and desire drive language toward the borders of geography, of poetry, and of the body—the true map of hips, feet, and mysteries. With the sensitivity of a great poet, Sofía Crespo Madrid reminds us that writing can also be a home, a land where we can reimagine ourselves and love more intensely.” (Mónica Ojeda, translated from Spanish by Archivo Venezuela)&lt;/p&gt;&#13;
&lt;p&gt;Source: &lt;a href="https://www.candaya.com/libro/aunque-me-extinga/"&gt;Candaya&lt;/a&gt;&lt;/p&gt;</text>
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                <text>"Two Video Art Pieces Based on Poems by Sofía Crespo Madrid"&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/819WqovYmpI?si=DG_e4UpUBMASjTlS" 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;</text>
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                <text>&lt;strong&gt;Adriana Vila on&amp;nbsp;&lt;em&gt;Belén&lt;/em&gt; (in Spanish).&lt;/strong&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/R4Fzy5bVpY0?si=bYsEX3glESGAd9J5" 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;&lt;strong&gt;Adriana Vila on&amp;nbsp;&lt;em&gt;Belén &lt;/em&gt;(in English)&lt;/strong&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/0YoO3GTUSls?si=_itOVYlesZMWxI3b" 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;&lt;strong&gt;Promotional Video&lt;/strong&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/csoKD9RjiR4?si=9SWh6xaB7nUGrir8" 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;&#13;
&lt;h3&gt;&lt;a href="https://archivovenezuela.com/items/show/373"&gt;Consulte la versión en español de esta entrada aquí.&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>"Belen, The echoes of a woman dedicated to the music of her people.&#13;
How to film the absence of a character that during her life filled with music all the spaces she visited? This seems to have been the dilemma of director Adriana Vila before filming this posthumous portrait of Belén Palacios, a cultural leader, peasant and promoter of Quitiplá, an African-Venezuelan musical rhythm.&#13;
The result is a film where silence gives way to endless sounds. The voices from around the world of those who knew her would tell us anecdotes about her life. There is also the hollow blow of the bamboo-like stalks of Quitiplá generating a sweet rumble when they are hit against the floor.&#13;
Also, there is Belén's own voice that offers her testimonies during a series of interviews made through the years. All of the above make up a sound panorama that is nothing more than the echo of an existence that will mark for years the small cocoa village of Tapipa, on the north coast of Venezuela, the place she was born for good." (https://guidedoc.tv/documentary/belen-documentary-film/)&#13;
A trip into the puzzled reminiscences of this woman's life (and death), captured through more than 100 hours of amateur found footage, and expressed through the mirrored gestures of multiple points of view. An unusual musical portrait filled with personal and collective resonant rituals; a path to understand the power of music, and modest authentic actions, for social transformation." (adrianavilaguevara.com/Belen)</text>
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                <text>&lt;a href="https:///archivovenezuela.com/files/fullsize/caribenos_cobo01.jpg" target="_blank" rel="noopener"&gt; &lt;img src="https://archivovenezuela.com/files/fullsize/caribenos_cobo01.jpg" alt="Dagne Cobo Buschbeck" style="max-width: 300px; height: auto;" /&gt; &lt;/a&gt;&#13;
&lt;h2&gt;Dagne Cobo Buschbeck (&lt;em&gt;Caribeños&lt;/em&gt;, 2023)&lt;br /&gt;&lt;br /&gt;&lt;/h2&gt;&#13;
&lt;a href="https:///archivovenezuela.com/files/fullsize/caribenos_cobo02.jpg" target="_blank" rel="noopener"&gt; &lt;img src="https://archivovenezuela.com/files/fullsize/caribenos_cobo02.jpg" alt="Dagne Cobo Buschbeck" style="max-width: 300px; height: auto;" /&gt; &lt;/a&gt;&#13;
&lt;h2&gt;Dagne Cobo Buschbeck (&lt;em&gt;Caribeños&lt;/em&gt;, 2023)&lt;/h2&gt;&#13;
&lt;h2&gt;&lt;br /&gt;&lt;br /&gt;&lt;/h2&gt;&#13;
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&lt;h2&gt;Dagne Cobo Buschbeck (&lt;em&gt;Caribeños&lt;/em&gt;, 2023)&lt;/h2&gt;&#13;
&lt;h2&gt;&lt;br /&gt;&lt;br /&gt;&lt;/h2&gt;&#13;
&lt;a href="https:///archivovenezuela.com/files/fullsize/caribenos_cobo04.jpg" target="_blank" rel="noopener"&gt; &lt;img src="https://archivovenezuela.com/files/fullsize/caribenos_cobo04.jpg" alt="Dagne Cobo Buschbeck" style="max-width: 300px; height: auto;" /&gt; &lt;/a&gt;&#13;
&lt;h2&gt;Dagne Cobo Buschbeck (&lt;em&gt;Caribeños&lt;/em&gt;, 2023)&lt;/h2&gt;&#13;
&lt;h2&gt;&lt;br /&gt;&lt;br /&gt;&lt;/h2&gt;&#13;
&lt;a href="https:///archivovenezuela.com/files/fullsize/caribenos_cobo05.jpg" target="_blank" rel="noopener"&gt; &lt;img src="https://archivovenezuela.com/files/fullsize/caribenos_cobo05.jpg" alt="Dagne Cobo Buschbeck" style="max-width: 300px; height: auto;" /&gt; &lt;/a&gt;&#13;
&lt;h2&gt;Dagne Cobo Buschbeck (&lt;em&gt;Caribeños&lt;/em&gt;, 2023)&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.dagnecobo.com/"&gt;Artist's Website&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.flickr.com/photos/kayoyaalacarte/albums/"&gt;Artist's Virtual Gallery on Flickr&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://phmuseum.com/projects/caribenos#b-boXKnk"&gt;&lt;em&gt;Caribeños&lt;/em&gt; on PhMuseum&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://archivovenezuela.com/items/show/459"&gt;Consulte aquí la versión en español de este registro&lt;/a&gt;.&lt;/h2&gt;</text>
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