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                <text>&lt;em&gt;&lt;strong&gt;El proyecto de las millones de bolsas&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>Francisca Sosa López</text>
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                <text>&lt;h3&gt;&lt;a href="https://palmergallery.co.uk/news/4-in-conversation-with-francisca-sosa-lopez-artist-interview/"&gt;Entrevista&lt;/a&gt;&lt;/h3&gt;&#13;
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                <text>El &lt;em&gt;&lt;strong&gt;Proyecto de las millones de bolsas&lt;/strong&gt;&lt;/em&gt; es un proyecto de toda la vida de dibujar una bolsa por migrante venezolano; totalizando 7,1 millones de bolsas. A partir de mediados de 2020; la artista venezolana Francisca Sosa López dibuja un mínimo de 250 bolsas diariamente. La actividad repetitiva sirve como meditación mientras rinde homenaje a cada persona desplazada por igual.</text>
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                <text>Gabriella Wright y Archivo Venezuela</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;Entrevista&lt;/a&gt;&lt;/h3&gt;&#13;
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                <text>Impresiones giclée en papel de trapo de fibra</text>
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                <text>&lt;em&gt;&lt;strong&gt;Arepa viuda&lt;/strong&gt;&lt;/em&gt; es una serie fotográfica que documenta a venezolanos indocumentados haciendo arepas en mercados alimentarios europeos; comenzando en Helsinki; Finlandia. Este trabajo escultórico de mezclar; amasar y dar forma a la masa revela la historia de un pueblo emigrado; arraigado en tradiciones culinarias que se remontan a los nativos del Caribe.</text>
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                <text>&lt;a href="http://id.worldcat.org/fast/930807"&gt;Comida en el arte&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1408944"&gt;Diáspora venezolana&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/1161374"&gt;Inmigrantes indocumentados&lt;/a&gt;; &lt;a href="http://id.worldcat.org/fast/885137"&gt;Patrimonio cultural&lt;/a&gt;</text>
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                <text>Gabriella Wright y Archivo Venezuela</text>
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                <text>&lt;em&gt;&lt;strong&gt;Un espacio suspendido&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>&lt;h3&gt;&lt;a href="https://vanessagodden.com/artwork/4843487-Un%20espacio%20suspendido.html"&gt;Declaración curatorial&lt;/a&gt;&lt;/h3&gt;&#13;
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                <text>&lt;em&gt;&lt;strong&gt;Un espacio suspendido&lt;/strong&gt;&lt;/em&gt; es un ambiente de realidad virtual que recrea el dormitorio de la abuela de la artista en Caracas. La habitación flota como una isla sobre agua; representando tanto la costa venezolana-caribeña como la inaccesibilidad de este espacio; solo alcanzable a través de recuerdos e imágenes.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Realidad Alternativa&lt;/strong&gt;&lt;/em&gt; (Santa Paula, El Cafetal, Caurimare, Caracas) es un collage de videos de Camila Salcedo que utiliza dibujos 3D; fotos satelitales de Google; imágenes 360° de usuarios de Google y videos de YouTube para recrear los barrios en los que creció alrededor de Caracas. La obra examina la prohibición del gobierno venezolano de Google Streetview; creando una brecha digital (&lt;a href="https://www.temporaltempestdatabase.com/realidad-alternativa-alternate-reality-santa-paula-el-cafetal-caurimare-caracas/"&gt;&lt;em&gt;&lt;strong&gt;Temporal Tempest Database&lt;/strong&gt;&lt;/em&gt;&lt;/a&gt;).</text>
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                <text>&lt;em&gt;&lt;strong&gt;La Selva del Darién&lt;/strong&gt; &lt;/em&gt;narra visualmente el desgarrador paso de Juan Carlos Silva a través del Darién Gap; un tramo traicionero entre Colombia y Panamá. Pintada en tonos acrílicos de verde exuberante y tonos tierra; la obra representa a migrantes atravesando un río sinuoso bajo imponentes montañas y dosel de la selva. Nacida de la experiencia personal de Silva sobreviviendo su propia migración desde Venezuela.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Lagunas mentales&lt;/strong&gt;&lt;/em&gt; refleja experiencias compartidas por innumerables inmigrantes a través de una videoinstalación multicanal. Cada pantalla muestra fotografías casi estáticas que han sido intervenidas por el artista. La memoria como proceso dinámico y reconstructivo explora la naturaleza efímera de los recuerdos arraigados en la tierra natal; junto con el deseo de recrearlos en otros lugares.</text>
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©Sabrina Montiel-Soto, todos los derechos reservados.</text>
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                <text>"La artista propone una mirada indígena procedente de un país cuya historia está profundamente marcada por la colonización; una mirada que se posa sobre una ciudad flamenca enriquecida por las empresas coloniales, aunque matizada por el humor y una sutil poesía. / La exposición Las huellas de la erósion en Koekenstad se presenta como una narración donde la erosión actúa como agente de transformación, permitiendo la fusión entre Venezuela y la 'Ciudad de las galletas' (Koekenstad), sobrenombre de Amberes que remite a las numerosas fábricas de galletas que antaño impregnaban con su aroma dulce el centro de la ciudad" (traducción de Archivo Venezuela del texto original en francés publicado en el sitio de la artista). https://www.sabrinamontielsoto.net/las-huellas-de-la-erosion-en-koekenstad-venezuela-antwerp/</text>
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                <text>&lt;em&gt;&lt;strong&gt;Las huellas de la erosión en Koekenstad&lt;/strong&gt;&lt;/em&gt;, de Sabrina Montiel-Soto, es una instalación multidisciplinaria que integra objetos encontrados, collage, escultura, fotografía artística y video-performance para explorar la historia, la memoria y la transformación cultural. A partir de materiales y referencias de Venezuela y de la ciudad belga de Amberes—conocida como la “Ciudad de las galletas”—la obra aborda procesos de erosión, la historia colonial y el intercambio de saberes y materiales. Mediante este diálogo, la exposición construye un recorrido visual y sensorial que conecta territorios, aromas y memorias, evocando las huellas superpuestas de la fusión cultural.</text>
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                <text>Una canción melancólica que explora la vulnerabilidad y la resiliencia, retratando el agotamiento de alguien herido por amenazas invisibles. Expresa la necesidad urgente de regresar al hogar como un lugar de alivio y redención.</text>
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