THE CONSULATE, REIMAGINED

Ana Alenso investigates the paradoxes of petrocultures, raising speculative questions on the geopolitical conditions and extractivist mechanisms that shape contemporary ecologies. Her multidisciplinary practice spans photography, video, assemblage, and installation. Recent solo exhibitions include *Island Innovator* at Kunstverein Arnsberg, Germany (2024); *Como es arriba es abajo* at Centro de Arte La Regenta, Gran Canaria, Spain (2023); and *Mad Rush* at Nkrumah Volini, Tamale, Ghana (2022). Her work has been featured in major group exhibitions such as the 18th Istanbul Biennial (2025), *Forgive Us Our Trespasses* at Haus der Kulturen der Welt, Berlin (2024); *Donde cruzan los humos espero una semilla* at Casa Encendida, Madrid (2024); *El Sur – Narratives of Extraction* at Kunsthalle Färgfabriken, Stockholm (2024); *Streetfight* at Muzeum Sztuki Nowoczesnej, Warsaw (2022); *Geneva Biennale: Sculpture Garden*, Switzerland (2022); and *The Beauty and Horror of the Oil Age* at Kunstmuseum Wolfsburg (2021).

Alessandro Balteo-Yazbeck’s artworks are connected to current political events, which he uses to question propaganda strategies employed to convey values such as freedom, prosperity, security, and utopia, interweaving these principles with oil policies and global economic ties. Working in a variety of media, including photography, film, installation, and found materials, his discourse juxtaposes disparate elements from a variety of disciplines and sources to contextualize historical problems, from the Cold War to oil exploitation in present-day circumstances. On this interesting basis of reflection, his works become “poetic documents,” exposing shadows, cracks, and perverse moments in specific situations that reveal multiple layers of meaning and connections fraught with tension. At times, Balteo-Yazbeck refers to or incorporates the works of other artists, like Gego and Alexander Calder, as a counterpoint to his own discourse. Born in 1972, Balteo-Yazbeck graduated in Fine Arts in his native city – Caracas, Venezuela, where he extensively exhibited his work, and later moved his practice to New York from 2000 to 2010. He is now based in Berlin.

Pepe López Reus is a multidisciplinary artist whose work explores identity, memory, and social transformation through sculpture, performance, installation, and photography. Transforming everyday urban materials into poetic statements, López addresses themes of consumerism, violence, and alienation. His acclaimed series Ponchos turns plastic bags into wearable sculptures that symbolize transformation and liberation. López has exhibited internationally, including at the Havana Biennial, Mercosul Biennial, MAD Museum in New York, and Kino Saito (2025), among others. Recipient of the AICA Venezuela Best Solo Show and a UNESCO Aschberg Residency, his work is featured in key academic and curatorial publications such as Latin American and Latinx Visual Culture (University of California Press, 2025) and Portadores de sentido (Fundación Cisneros, 2019).

Carlos Enríquez González (b. 1968, Caracas, Venezuela) is a visual artist whose practice bridges surrealism, pop, and contemporary symbolism. He studied at the Cristóbal Rojas School of Visual Arts (1989), at the Art Students League of New York (2001), and earned a Master’s degree in 'Practice and Critique of Contemporary Visual Representation Systems' from the Armando Reverón University Institute (2002–2004). Enríquez González has presented six solo exhibitions and participated in over sixty group shows. His work is included in the collections of the Museum of Contemporary Art of Caracas Sofía Imber (MACCSI) and in private collections across Asia, Japan, the United States, and Europe. His art has been featured in numerous Venezuelan publications, as well as in international outlets such as *Latin American Contemporary Art*, *Phillips De Pury*, *Juxtapoz Magazine*, *Clutter Magazine*, and BBC’s *The Man with the Golden Gavel*. He currently works between Caracas, New York, and Tokyo.

Iván Candeo was born in Venezuela in 1983 and currently lives in Barcelona, Spain. From a young age, he was part of an independent study group comprising Venezuelan artists from various generations. In 2008, he earned a degree as a Professor specializing in Visual Arts. He participated in the Lugar a Dudas artist residency directed by Colombian artist Óscar Muñoz in Cali, Colombia. In 2014, at Casa sin fin Gallery in Madrid, he presented his first solo exhibition in Spain, titled 'Identity and Rupture.' Some of his video works are included in the audiovisual archive HAMACA, Media and Video Art Distribution from Spain. That same year, he completed a Master’s degree in Comparative Studies of Literature, Art, and Thought at Pompeu Fabra University in Barcelona, and he is currently pursuing a PhD in Advanced Studies in Artistic Production at the University of Barcelona. His solo exhibitions include 'Hay un Goya en la sopa' (There’s a Goya in the Soup), Alarcón Criado Gallery, Seville, Spain (2022); 'Sin acto' (Without Act), Carmen Araujo Arte Gallery, Caracas, Venezuela (2018); 'Correspondencias del ultramar' (Overseas Correspondences), Sala Mendoza, Caracas, Venezuela (2017); and 'Corte en movimiento' (Cut in Motion), Oficina #1, Caracas, Venezuela (2015).

Born in Caracas, Venezuela, in 1970, Ángela Bonadies is an artist whose work explores the notions of duration and memory—what endures, what fades, and what exists 'out of place.' Her practice begins with photography and expands into other media such as writing, drawing, and installation. Her exhibitions include 'Una voz / Una imagen,' Centro Cultural de España en México (2025); 'Cine Ciego,' La Capella, Barcelona (2024); 'En las entrañas de la bestia,' La Virreina Centre de la Imatge, Barcelona (2022); Bienal de Cuenca (2020); Ciutat de Palma Prize (2020); 'La pesca,' Freijo Gallery, Madrid (2019); 'Cruzando la línea,' Cinemateca Distrital de Bogotá (2019); Santa Fe SITElines 2018 Biennial; 'The Matter of Photography in the Americas,' Stanford University (2018); 'A Universal History of Infamy,' LACMA and 18th Street Arts Center (2017); 'West Side,' Abra Caracas (2016); 'La bestia es el soberano,' WKV Stuttgart and MACBA (2015); and 'Global Activism,' ZKM Karlsruhe (2013).

Muu Blanco (born in 1966 in Caracas) is a Venezuelan & EEUU Citizen, multidisciplinary artist known for his work in visual arts, music, and performance. In 2002, he completed a theoretical and practical master’s degree focused on the system of representation in contemporary art at the Armando Reverón Institute of Higher Studies in Plastic Arts. His visual work includes painting, sculpture, video art, and photography, characterized by a conceptual approach and strong social critique. As a musician, he has been involved in various projects blending electronic music, rock, pop, and sonic experimentation. He has exhibited in museums and galleries across the Americas and Europe, including the Museum of Contemporary Art of Caracas, the Lowe Art Museum, and the Venice Biennale. Renowned for his continuous innovation, Muu Blanco constantly explores new media and formats, challenging artistic conventions. He remains a key figure in contemporary Latin American art.

Nayari Castillo-Rutz, based in Graz, Austria, is a Venezuelan-born independent installation artist focusing on interventions in public space and collaborative, socially engaged art. As part of her artistic practice, she has developed numerous international art projects in various roles, including artist, coordinator, and curator. Art publication and experimental documentation are also among her interests. In her artwork, Castillo-Rutz explores space as material by confronting different elements through installation. Using text, objects, photography, architectural solutions, and video, her installation work relies on site-specific constructs firmly attached to ideas of travel, memorialization, inclusion, and dialogue. Most of her interventions engage with history, personal experiences, time, and place, establishing a semantic field where tools and ideas, devices and forms, combine in a unified discourse.

Gerardo Rosales (b. Venezuela, lives and works in Houston, TX) is a multidisciplinary artist whose vibrant, ornamental paintings draw from folk traditions, religious iconography, and decorative craft to explore the intersections of race, class, gender, and sexuality. His work has been exhibited widely across Latin America and the United States, including the Contemporary Art Museum Houston, The Moody Center, and the Museo de Arte Contemporáneo de Caracas, and is held in collections such as the McNay Art Museum, Colección Patricia Phelps de Cisneros, and the Houston Endowment. Formerly a self-taught artist, Rosales earned his MFA from Chelsea College of Art in London and spent over two decades as an arts educator in Houston.

Parque Industrial is an interdisciplinary musical project developed in Caracas since November 2023. It is composed of Ross Bermúdez (bass), Lisandro Castro (vocals), Hugo Mármol (drums), and Luis Arroyo (guitar). The proposal centers on the sonic performance of an art-rock band alongside parallel aesthetic practices such as site-specific installations and graphic editions. Through Parque Industrial, the group explores the complex relationships between the human, the mineral, and the animal, addressing themes and questions linked to nature within the political and cultural history and memory of Venezuela. Their work aims to construct a poetics around geographies, imagined armies, and their possible revenges.

Javier León is a Venezuelan artist and researcher, founder of the Center for Specialized Studies in Curatorial Research and Practices—an initiative dedicated to developing an extensive archive on Venezuelan art. He holds a Bachelor’s degree in Fine Arts (Painting) from IUESAPAR and a Master’s in Fine Arts: History and Theory from the Central University of Venezuela (UCV). León has presented numerous solo exhibitions, including *CCS* at Espacio Monitor (awarded AICA Best Solo Exhibition, 2019) and *Caracas Inmortal* at La Caja / CCCH, later exhibited at the Museum of Contemporary Art of Zulia (MACZUL). He has received the Armando Reverón Award at the Michelena Salon and the Young Artist Award at the Aragua Salon. His works are part of major institutional collections such as MACCSI, MACZUL, the Mario Abreu Museum of Contemporary Art in Maracay, the Ateneo de Valencia, and private collections including Banco Mercantil, Bellilty, and Ca&Fe.

Ximena Montilla Arreaza, known as Ximena con X (Caracas, 1976), is a Venezuelan-Spanish psychopedagogue, neurogastronomist, writer, and cultural promoter. She is the director of Arraigo Group Publishing (U.S.) and the Arraigo Foundation, both dedicated to preserving and promoting the intangible heritage of Spanish-speaking countries. For the past five years, she has led *Historia de la Arepa*, a multidisciplinary platform that connects art, gastronomy, and collective memory through the contributions of more than 300 collaborators. Ximena has been a TEDx speaker with her talk *Spanish as an Affective Language*, a member of the Women Economic Forum (WEF), and the recipient of nine Gourmand Awards, six International Latino Book Awards, and the Armando Scannone Award for the *Historia de la Arepa* project. She represented Venezuela at the International Gastronomy Symposium in Umeå, Sweden (2023).

Born in Venezuela, Laura Stagno earned her Bachelor’s degree in Fine Arts from the Armando Reverón Institute in Caracas and completed a postgraduate program in Moving Image at Musashino Art University in Tokyo. She currently lives in Barcelona, Spain, where she works as an illustrator and teaches Japanese cooking workshops—bringing together her two passions: art and culinary culture.

Marco Bell (USA–Venezuela, b. 1983) is a photographer and visual artist whose practice integrates documentary approaches, performance, and conceptual research to explore the visual codes that shape identity, ideology, and belonging. His work reflects on the tensions between memory and collective myth, addressing themes of transculturation, nationalism, and power. Bell holds an MFA in Photography from Parsons School of Design, The New School (New York, 2015). His projects move between visual anthropology and contemporary art, including *Bolívar, New York*—a social performance in a declining oil town—and *Dress Code (Uniformes Nacionales)*, a typological study on identity. He is currently developing a documentary series about cowboy culture in the southern United States, expanding his research on migration, representation, and the invisibility of labor. His work has been exhibited internationally and is represented by TOBE Gallery (Budapest). Bell lives in Florida, where he teaches photography and maintains a commercial practice in architectural and editorial photography.

Adriana Barrios Mendoza is a Venezuelan graphic designer and visual artist with over 25 years of experience. She graduated from the Instituto de Diseño Perera (Caracas, 1992) and completed a Diploma in Management and Interpretation of Cultural and Natural Heritage at the Central University of Venezuela (2010–2011). Her career spans visual arts, video art, and community-based cultural work, with a focus on contemporary art and environmental awareness. Barrios has exhibited individually at the Sofía Imber Gallery, Andrés Bello Catholic University Cultural Center (Caracas, 2023), and La Caja 1, Chacao Cultural Center (Caracas, 2018). Since 2013, she has developed art and recycling workshops for children and youth—projects supported by Banesco’s participatory budget initiative. Her work has been shown in the United States, Colombia, Mexico, Spain, Brazil, Romania, South Korea, and Argentina. In 2002, she received an audiovisual residency grant from the G3 Artistic Exchange Program (CONAC–CONACULTA, Mexico City).

He studied drawing, painting and sculpting in the Cristobal Rojas School of Arts and in the Armando Reveron Institute of Visual Arts in Venezuela. In 1996 Ovalles-Ar became a resident of London for 6 years, where he studied drawing and painting in Westminster College; video art in the Camberwell School of Art and art and computing in the Tower Hamlet College. In 2005 he presented the individual exhibit Karakas in Office #1. In 2006 he received the 1st place in the XI Salón CANTV de Jóvenes with FIA and participated in a group exhibit Anxiety of the Influence, Wight biennial in the UCLA New Wight Gallery in Los Angeles. In 2007 he participated in the IX Francisco Narvaez Biennial of Sculpture in the island Margarita where he received an honorary mention. During 2008 he had an individual exhibit Area Typo in the Fernando Zubillaga gallery in Caracas and participated in a collective presented by Office #1 in ArteBA, in Buenos Aires; in Reflect/Refract in the Rich Gallery in London and in PINTA, Latin- American Contemporary Art Fair in New York City. During 2009 he participated in the exhibits Vision Constructiva in the GBG Arts in Caracas, Salida de Emergencia in Exis, Bogotá and in Espacio Diverso with La Casa in Quito, Ecuador. In 2010 he was present in the Venezuelan Pavilion in the Shoe Gallery in London and in Friends in the Cometa Gallery in in Bogota. . In 2010 he was present in the Venezuelan Pavilion in the Shoe Gallery in London and in FriendsintheCometaGalleryin inBogota. During 2011 he was included in La Otra, in the Alternative Art Fair in Bogotá. During 2012 he started the project Historiografía Marginal del Arte Venezolano with other Venezuela visual artists with presentations in various spaces in the city of Caracas. In 2013 he participated in a curatorial conception in Museable/ No Mueseable. In 2014 he was invited by the curator Jose Roca to compete in individual projects by PArC ian Lima where he received the price of best proposal. In May 2015 he got residency in Flora Ars Natura, Honda Colombia as a winner of the Beca PArC Scholarship and in June 2015 he was presented in the Flora Ars Natura gallery in Bogota and a solo show presented in Jacob Karpio Gallery called “Políticas de la contingencia”, in 2018, February 2020 colective exhibition “Traducciones” at Plural Nodo Cultural Bogotá and in November 2021 an individual exhibition at Galería Elvira Moreno “Utopian Inmaterialities”, 2022 is invited by the curator Gabriela Rangel to participate at REFERENTES section at ArtBo and SITIO section, 2022-2023-2024 has been represented at the Zona Maco Art Fair by the Galeria Elvira Moreno

Marco Antonio Guerrero (Caracas, Venezuela) is a Fine Art photographer and director of photography based in New York. His work stems from a silent observation of the world—bodies, structures, and landscapes where form exists on the verge of disappearance. He has lived and worked in various countries, including Argentina and the United States, which has shaped his attentive gaze toward distance, geometry, and light as a physical substance. Working in medium format with 120 mm film, he explores the permanence of the instant and the restrained beauty of reality. His work, marked by a sober aesthetic and formal precision, is part of private collections and international projects.

Comic book artist and writer (Borlo Comix Vol. 1, Oingo Boingo Rock and Roll Biography, El Horror Es Su Divisa, El Día Que Me Pilló Mi Abuela Con La Burra De Mi Tío). Visual artist, painter, and DJ. Born in Terrazas del Club Hípico during the good times — the final year of the seventies — and raised among beasts in the dying democracy of the century’s end. He has lived in Los Angeles, CA since 2002, working as a storyboard artist, concept artist, and designer.

Carlos J. Gómez de Llarena (b. 1974, Venezuela) is a media architect who works with physical and digital experiences that shape social interaction and our perception of space. He works with installations, video, sound, net art, and programming. His work has been exhibited at Ars Electronica, Eyebeam, the Museum of Contemporary Art of Caracas, ZKM, and ResFest, among others. His education and career combine architecture, video, and interactive media. In 2003, he received the Golden Nica Award from Ars Electronica for one of his interactive projects, Node Runner. He currently lives in New York, where he works as an artist and interactive designer.

Visual artist born in Venezuela and based in Paris. Her work combines digital collage and contemporary lenticular and fine art printing techniques, creating pieces that invite movement, playfulness, and introspection. Through images that change with light and perspective, Gabriela offers visual experiences that spark curiosity and connect emotionally with the viewer. Her work focuses on memory, uprooting, and hope, exploring how art can become a bridge between past and present, individual and collective. She has exhibited in venues across Europe and the United States, and her pieces form part of private collections. She collaborates with collectors, architects, and interior designers, adapting her works to unique projects and exploring original formats that transform spaces. For Gabriela, her series are a living experience that generates dialogue, identity, and emotion.

I’m Claudia Echeverria, also known as CLoD—a Venezuelan-born artist living and working in New York. I was raised near the Venezuela-Colombia border, surrounded by the textures, rituals, and quiet strength of Wayuu culture. My work is rooted in emotion, memory, and the urge to make sense of what stirs inside me. I paint to understand. To sit with discomfort. To remember. To release. My style—TribalPop—blends ancestral symbolism with contemporary abstraction. It’s intuitive, layered, rhythmic. Some pieces arrive wild and raw; others, quiet and composed. I’m not after perfection, but I care deeply about precision—about listening closely to what wants to be seen. Before this, I lived many lives. I produced television. I traveled. I questioned everything. And somewhere along the way, painting found me—not as a career, but as a way to stay present, awake, and alive. More than a decade in, I’m still in awe of what reveals itself when I let go. My work lives in the in-between: joy and grief, shadow and light, memory and invention. If it stirs something in you, then we’ve already met.

Enriqueta Ahrensburg (unauthorized autobiography) I was born in Paris on March 30, 1973, though half of me already came from Venezuela and the other from a German forest I’ve yet to set foot in. At sixteen I returned to Paris —out of hunger for art, for that ancient thirst that never heals— and studied at the Académie de Port-Royal, like someone peering into the abyss with pencil and charcoal. Then I went back to Caracas and graduated from the Armando Reverón School of Fine Arts. My thesis, Pictorial Constructions In Situ, was presented at the Arturo Michelena Salon, where I received the Harry Lippins Award. Those are, let’s say, my noble titles. The rest of my résumé has unfolded inside my studio, in my inner world, among paintings, domestic rituals, and thoughts that don’t fit on a gallery label. I have exhibited, yes— in a few group shows, in a few solo ones. But the essential part has never been hung. Because my work—if it can be called that— has not merely been about making images, but about building a worldview, a language of my own that speaks from the invisible. I work with symbols and pigments, in a studio that is also a threshold, searching for the crack, the hidden sign, the form that cannot be seen with the eyes. For this world—of forms, objects, and showcases— is but a surface, a prison of five senses. And I have always been on the other side of the glass, wondering what lies beyond what they call “reality.” My work is a kind of attempt, a discontinuous writing with what has no name, a travel diary through worlds not found on maps. And if I have achieved anything, it is this: to have held onto that invisible thread, without cutting it completely, nor losing myself entirely in the noise.

Corina Lipavsky is a Venezuelan-born/Miami-based digital artist whose work explores the intersections of art, technology, and nature. Using language-driven generative tools (code and AI), she creates audiovisual pieces, prints, and interactive installations that imagine post-human and more-than-human futures. Her recent series investigate hybrid organisms, speculative ecologies, and symbiotic imaginaries as ways to challenge anthropocentric narratives. Her work has been exhibited internationally and featured in both physical and digital art spaces. Ultimately, she sees technology as a tool for reimagining possible futures—spaces where diverse forms of intelligence, agency, and collaboration can emerge. Through her practice, she aims to create work that is not only reflective but also generative, fostering new ways of sensing, listening, and coexisting in an entangled world.

Ricardo Picón is a Venezuelan photographer and multidisciplinary artist based in Brooklyn. His work explores the intersection of landscape, memory, and visual spirituality, using techniques such as infrared cameras, handcrafted lenses, and glass fractals. Since his beginnings in the 1990s with the electronic project EOE, his practice has evolved toward a poetic and sensory photography, deeply shaped by the emotional geography of Venezuela. His work has been featured in publications such as Vogue Accessories, The New York Times, and Architectural Digest, and he has collaborated with firms like Sotheby’s and Compass. In his most recent series, Caribe Oscura, Picón intertwines experimental photography and sound archives to evoke a dreamlike, vibrant, and ghostly Caribbean.

Armando Torellini is a Venezuelan-born artist based in Los Angeles whose work spans painting, monoprint, poetry, graphic design, and image installation. Trained in graphic design, he approaches composition as a discipline—testing balance, rhythm, and proportion across paint, print, and language. His practice examines exile, belonging, and bilingual thought, exploring how displacement and erasure live in both body and language. Recent projects include *Topografía Fundamental del Exilio*, a modular painting series that maps exile as shifting emotional and geographic terrain, and *band/aid • high/way*, a book-object that fractures and sutures language through pause, rupture, and breath. Queerness enters his work as a quality of presence—tender, attentive, and unrushed. Torellini’s work has been shown at Universidad Simón Bolívar, Salón ≠ Salón, Casa de la Cultura Calabozo, and Miradas de luna nueva. He will present a new project with KIOSKO at NADA Miami 2025.

“Ascension through Sensory Stimulation.” Mau Ceppi is a visual artist and founder of Funktaxi 1533, a renowned NYC-based collective specializing in experiential and visual arts. With over 25 years in the field, Mau has revolutionized the electronic music and nightlife scenes, creating immersive environments that merge art, technology, and sensory stimulation. His work has graced world-class venues, galleries, museums, and festivals, pushing the boundaries of visual storytelling. Funktaxi’s installations and exhibitions have been featured at prestigious institutions such as the Museum of Contemporary Art in Caracas, Venezuela (twice) and the Christian Dior Biennale. His art has captivated audiences in galleries including Here Gallery (NYC), Anthology Film Archives Gallery (NYC), and Purple Gallery (LA). Notably, his collaboration on the “Lake of Red” video was selected for both the Cannes Short Film Festival 2020 and the Montreal Film Festival 2020. His artistic imprint spans iconic venues such as Limelight, Tunnel, Webster Hall, Twilo, Verboten, and Avant Gardner. Mau has designed and performed at prestigious events such as the Star Wars: Attack of the Clones Premiere, private parties for Jay Z, Missy Elliot, and Moby, and the Amazonia Project Fashion Show in Paris. He has worked with international music icons, from Carl Cox to The Roots, creating visual symphonies that resonate with audiences worldwide.

Rosa Gabriela Chávez Rincón (Caracas, 1989) is a visual artist, educator, and cultural manager. She holds a degree in Education with a specialization in Technical Drawing and a Master’s in Photography and Artistic Projects (PHotoESPAÑA, Madrid). Her practice explores analog and experimental photography, installation, and visual poetry. She has developed an international trajectory with exhibitions in Venezuela, the United States, Mexico, and Spain. She is the co-founder of El Avispero Art (Venezuela) and director of Rosca (Spain), combining cultural management, production, and curatorial work. Her most distinctive technique, the “photofold,” creates pieces that dialogue between image, void, and materiality. Her practice connects traditional and contemporary knowledge, generating experiences in which photography becomes a tool for dialogue and social transformation. Recently, she received the 25th L’Escala Spring Grant (Spain) and was a finalist for the Vila Casas Foundation Photography Award (Spain). Portrait credits: Jahel Guerra.

Álvaro Segura (Caracas, 1967) is a guitarist, composer, and visual artist whose trajectory bridges music, art, and technology. He was a founding member of the iconic Venezuelan band Zapato3, a group that defined a generation. Internationally, he has worked as an FX Houdini Artist for major studios such as MPC, Blur, and Sony Imageworks. As a visual artist, he has exhibited in Paris, Monaco, and Madrid, gaining recognition for his poetic and atmospheric style. His current solo project fuses expressionist rock, poetry, and monumental projections created through advanced digital simulations. Living between the U.S. and Venezuela, Segura continues to explore new artistic forms that connect emotion, innovation, and memory.

Marylee Coll (Caracas, 1957) is a visual artist with studies at the Cristóbal Rojas School of Art, The Students Art League, and the Accademia di Brera. Since 1989, she has developed a long-term exploration of color, materials, and form, with over 30 years of artistic practice. Her work includes solo and group exhibitions, as well as public art interventions. Since 2010, she has also focused on photography, presenting the solo show 'Inanimados,' curated by Félix Suazo, at El Anexo, Caracas (2013); and 'Testigos del desarraigo,' curated by Ruth Auerbach, at Beatriz Gil Gallery, Caracas (2018), later featured as a Solo Project at Pinta Miami (2018). A book of the same title was published, with text by Ruth Auerbach and graphic design by Gisela Viloria. In 2019, she began the ongoing photographic series '#algunasfachadasdecaracas,' comprising over 6,000 images. Part of this body of work is featured in 'Caracas Frontal' (March–June 2025), at Sala TAC, Trasnocho Cultural, Caracas, curated by Ruth Auerbach and Franco Micucci.

María Teresa Govea-Meoz, also known as Marithe Govea-Meoz, is a visual artist, curator, and Executive Director of the Govea-Meoz Foundation. Born in Maracaibo, she graduated as a Technical Accountant and Museologist and has been active in the art world since 1991. Her multidisciplinary practice spans goldsmithing, foundry and alloy techniques, conservation, museography, photography, sound art, and video art. Throughout her career, she has curated more than 98 exhibitions nationally and internationally and participated in over 85 group shows, along with five solo exhibitions. Her work is included in the Luciano Benetton Foundation’s *Imago Mundi* collection, as well as in the collections of MACZUL (Museum of Contemporary Art of Zulia) and the Govea-Meoz Foundation. A founding member of the multimedia room at MACCSI, she received third place at the XVII Luisa Palacios Biennial of Graphic Miniatures (TAGA). She currently develops projects for digital platforms and cultural institutions while sharing her professional and creative life between Caracas and Barcelona.

MIKIHUMO is an emerging multidisciplinary artist from Caracas, Venezuela, now based in Miami. His practice bridges art, architecture, and technology, with a distinctive focus on volumetric forms and the transformative power of light. Trained as an architect, he brings a spatial sensibility into his artistic work, creating immersive environments that merge structure, movement, and perception. In addition to his independent projects, MIKIHUMO has contributed to the realms of stage design and projection mapping, collaborating with musicians, performers, and other visual artists to expand the boundaries of live experience. His work often dissolves the line between the physical and the digital, inviting viewers to step into sensorial landscapes that are both futuristic and deeply human. His recent works have been showcased internationally, with features in The New York Times, Art Miami, L.A. Art Show, Burning Man, and Miami Music Week, among others. Through these platforms, MIKIHUMO continues to explore how art, light, and technology can reimagine space and engage collective imagination.

Sergio Rangel (Caracas, Venezuela, 1969) is a multidisciplinary artist whose work spans installation, performance, digital media, and conceptual art. Living and working between New York City and Europe, Rangel explores the intersections between technology, spirituality, and human perception through projects that merge interactive media, sound, and visual experimentation. With a background bridging fine arts and programming, his career includes decades of art direction for major international agencies and exhibitions across Latin America, Europe, and the Middle East. His recent works, including the *Re-existentialist Manifesto* and the interactive exhibition *Presence*, reflect his ongoing inquiry into the reformulation of energy, consciousness, and aesthetic experience in the digital age.

Florencia Alvarado (Maracaibo, Venezuela) is a visual artist, photographer, and designer based in New York. Her practice combines photography, digital art, collage, scanners, and still life photography to explore representation, identity, and the interplay between analog and digital imagery. She is the co-founder of WMN Zine, a lesbian publication that has been awarded the Queens Funding for the Arts Grant twice for its commitment to visibility, community, and queer artistic expression.

Rebecca Blackwell (Caracas, 1972), known by her literary name Inédita Gramática González, is a sociologist and chronicler of the everyday. She holds a PhD in Sociology from the University of South Florida and has spent over a decade researching how stories shape desire, mental health, and migration. Having lived in Caracas, Toronto, Lima, and Tampa, she collects voices, accents, and ghosts, transforming them into poetic narratives. Between academia and poetry, she has found her laboratory: language as an emotional territory. Her book *Bailes de manicomio*—a romantic and psychoerotic comic about exile, laughter, and the freedom to love without permission—is her first collection of poems and second comedic work.

Carlos “CAE” González is a Venezuelan-born designer, illustrator, and visual artist based in Mexico City. His work is a vibrant fusion of editorial graphics, typography, and urban aesthetics, shaped by influences from Caracas modernism, Latin American mysticism, and old-school tattoo iconography. Balancing humor, irony, and symbolism, CAE creates imagery that evokes hybrid identities, ancient cultures, and contemporary narratives. His precise and provocative style conveys a unique visual voice—deeply Latin American in spirit, universal in language, and powerful in expression.

Violette Bule is a Venezuelan-born conceptual artist whose work merges archival research with community participation. After studying photography in Mexico City, she earned her MFA in Studio Art from the University of Houston. Using documentary techniques and participatory fieldwork, she explores the dynamics of power and collective memory. Her recent exhibitions include *La Bienal Poli/Gráfica de Puerto Rico y el Caribe: Bajo Presión* (San Juan, 2024), *Day Jobs* (Stanford Cantor Arts Center & Blanton Museum, 2023–24), *Echo Chamber* (Transart Foundation, 2020), and *Round 57: Southern Survey Biennial II* (Houston, 2024). She received the 2023 Horton/Artadia Award and was supported by Houston’s Mayor’s Office of Cultural Affairs. She has held residencies at Cornell University (2022) and the Visual Art Center at UT Austin (2024), following fellowships with Soma Summer (2014), Tokyo Art Space (2012–13), and ArtPace International Residency (2026). Her monograph *De la Lleca al Cohue—born from prison workshops (2010–12)* was named July 2024 Book of the Month by the Henri Cartier-Bresson Foundation.

Jaime Castro Oroztegui (San Cristóbal, Venezuela) is a visual artist whose practice focuses on landscape as a symbolic construction and space of contemplation. Through photography, video, objects, and installations, he explores the relationship between subject and environment, merging the documentary, pictorial, and poetic. His work draws from European Romanticism—from Caspar David Friedrich to Bruegel the Elder—and Latin American modernists such as Manuel Cabré, Tarsila do Amaral, and Leda Catunda, as well as the Düsseldorf School of photography. Castro approaches landscape as a field of cultural, historical, and subjective meaning, combining observation, archival research, and visual reconstruction. His process, rooted in sculpture, conceives the image as a layering of time and matter. He has developed projects across Latin America, Asia, and Europe, and currently lives between Santiago de Chile and Caracas.

Helwing Villamizar (Venezuelan, born Caracas, 1974) is a multidisciplinary artist who lives and works in New York City. Working across painting, sculpture, and research-based practices, Villamizar reconstructs state infrastructures, civic symbols, institutions, and technologies through processes of material entropy. His work examines how systems of authority, collective memory, and cultural meaning are built, circulated, transformed, and dispersed over time. Moving between personal experience and broader historical conditions, Villamizar often works with structures marked by political rupture, technological obsolescence, institutional instability, or displacement. Rather than treating ruin solely as evidence of loss, his practice considers what persists when the systems that once organized meaning begin to fracture—objects, images, relationships, memories, and forms of cultural continuity that remain active beyond their original structures. His work has been presented at Henrique Faria New York (2026); The Elizabeth Foundation for the Arts, New York (2026); Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas (2011); Museo Alejandro Otero, Caracas (2004); Sala Mendoza, Caracas (2002); and Bruce Castle Museum, London (1999). He has also participated in the International Biennial of Contemporary Art at Universidad de los Andes, Mérida (2022, 2010); the I Biennial of Fire at the Museo de Bellas Artes, Caracas (2006); FIA–Caracas Pública (2002); the Sziget Festival, Budapest (2011); Periférico Caracas Arte Contemporáneo (2013); and NADA Miami Art Fair (2025).

Alberto Cabello is a Venezuelan musician, producer, and artist manager best known as the founding drummer of the influential post-punk band Sentimiento Muerto. Following his music career, he became a key figure in Latin American music production and management, working as manager for major bands including Amigos Invisibles and Caramelos de Cianuro, among others. Cabello has played a significant role in shaping Venezuela’s alternative and popular music scene through both performance and long-term artist development.

Alejandra Mandelblum is a Venezuelan-American multidisciplinary artist, educator, and cultural organizer based in New York City. Her practice operates at the intersection of visual culture, material experimentation, and community-driven collaboration, with a sustained focus on diasporic narratives and collective memory. Mandelblum is a faculty member at Pratt Institute and has exhibited in the United States and Mexico, with works held in private collections across North America and Europe. As the initiator of the concept and formation of EL CONSULADO NYC, she currently serves as its Executive Director, leading strategic development, partnership cultivation, and public programming. Her work and leadership emphasize equitable cultural exchange and expanded access to the arts, particularly through initiatives that support immigrant and underrepresented artistic communities.

Audino Díaz is a Venezuelan contemporary artist whose practice explores reflections on nature and the relationship between human beings and the natural environment. He began his artistic career at the age of 17 and received formal training at the Armando Reverón University Institute of Plastic Arts in Caracas, as well as at the SculptureCenter and the Art Students League in New York. His body of work spans sculpture, installation, drawing, and the use of diverse natural and industrial materials. Díaz has represented Venezuelan visual art internationally, with projects and exhibitions in the United States, Spain, Germany, Colombia, and Mexico. His practice is deeply informed by Land Art—a movement that emerged in the 1960s through figures such as Richard Long, Andy Goldsworthy, and Robert Morris—emphasizing dialogue between nature and humanity and the ephemeral condition of artworks shaped by environmental forces. Recently, he has established his studio in Asturias, continuing a practice grounded in subtle, respectful interventions within natural landscapes.

Bacalao Men is a groundbreaking Venezuelan band formed in Caracas in 1999, known for its vibrant fusion of Afro-Caribbean rhythms, funk, rock, and electronic music. With core contributors such as Pablo Estacio and Sebastián Araujo, alongside composer and lyricist Carlos Eduardo Troconis, the band developed a distinctive, high-energy sound often described as a "groovy and bizarre futuristic salsa planet." This experimental ethos has remained central throughout their discography, including acclaimed albums such as El Nuevo Bugalú, Sabaneando, and Sangre. Their innovative approach has earned significant recognition, including the Best Album of the Year award from Venezuela’s Fundación Nuevas Bandas for El Nuevo Bugalú, as well as awards for Best Song and Best Production for "El Comegente."

Born in Acarigua, Venezuela, Luis Cobelo is a photographer whose practice developed between Venezuela and Spain. After an extensive career as an independent photojournalist—producing documentary projects across the Americas, Asia, and Europe and publishing in major magazines throughout Spain, Europe, and Latin America—his work now focuses on artistic creation through photobooks and exhibitions. His practice centers on Latin American culture, generating narratives from a personal perspective that transform the everyday into the unusual, the tragic into the humorous, and vice versa. Drawing inspiration from literature, popular culture, cinema, poetry, myths, traditions, and even gossip, Cobelo employs imaginative, magical, and fantastical realities to construct parallel worlds aligned with his own sensibilities. In 2021, he founded La Chancleta Voladora (The Flying Flip Flop), a platform created in response to the limited visibility of photographers from Latin America and the Caribbean in international art and photography book fairs. The initiative supports photographers by providing resources to produce and promote photobooks while maintaining full creative and editorial independence, fostering a collective Latin American voice that resonates globally.

Mariantonia Blanco is a Venezuelan interdisciplinary artist, creative producer, and chef based in New York City, with an academic background in law. Her multifaceted practice operates at the intersection of artistic production and professional creative strategy, specializing in brand identity, visual communication, and strategic creative direction. Through a conceptual design approach, she integrates visual storytelling across multiple media, bridging cultural narratives with contemporary aesthetics. Alongside Helwing Villamizar, Blanco performs curatorial duties for the KIOSKO project, contributing to its creative vision and interdisciplinary framework.

Michel Otayek is an art historian, curator, and advisor specializing in twentieth-century photography and print culture in Ibero-America. His research examines the production and circulation of images through questions of gender, exile, mobility, and cultural exchange. His curatorial work includes Told and Untold at Americas Society, Una Luz at the Visual Arts Center at the University of Texas at Austin, and KIOSKO at NADA Miami 2025. He is a researcher with the TransExile research unit at Leibniz Universität Hannover and advises the Archivo Privado de Fotografía y Gráfica Kati y José Horna.

Kate Wong is a curator, writer, and researcher and the founder of SITE Toronto. Her work focuses on shaping the social, intellectual, and material conditions through which art is produced and experienced, with an emphasis on supporting artists and connecting art more meaningfully to everyday life. She has held senior positions at the Museum of Contemporary Art Toronto, Serpentine Galleries, Sadie Coles HQ, and V.O Curations, where she established a residency program for early-career artists and cultural practitioners. Her writing has appeared in e-flux, Yishu Journal, AnOther Magazine, and frieze.

Henrique Faria is a gallerist and the founder of Henrique Faria New York. Established in 2001, the gallery began with a focus on Latin American geometric abstraction and later expanded its program to include conceptual practices and modern and contemporary artists, with sustained attention to work from Venezuela and the wider region. Through exhibitions, institutional relationships, and long-term artist representation, Faria has contributed to the international visibility of artists and art histories that have often been underrepresented.

Eugenia Sucre is a Venezuelan cultural manager and art-world professional based in New York. With more than fifteen years of experience across galleries, institutions, and independent projects, her work connects curatorial strategy, artist collaboration, cross-cultural dialogue, and the international visibility of Latin American art. She has directed Henrique Faria New York since 2013 and founded eugenia sucre • projects in 2025 as an independent platform for cultural strategy, curatorial production, project management, and experimental forms of collaboration.

George Scheer is an arts administrator, curator, and cultural producer with more than two decades of experience developing artist-centered institutions and creative communities. He serves as Executive Director of The Elizabeth Foundation for the Arts in New York. Scheer previously served as Executive Director of the Contemporary Arts Center, New Orleans, where he led strategic planning, organizational restructuring, and multidisciplinary programming addressing social and civic issues. He is also the co-founder and former Executive Director of Elsewhere, an experimental museum and artist residency in Greensboro, North Carolina, developed through collaboration, site-specific practice, and collective cultural production. His work focuses on institutional sustainability, artist support, public engagement, and the relationship between art, place, and community.

Josayma Briceno is a Venezuelan bilingual early childhood educator based in Brooklyn, New York. Her work centers on creative, play-based learning and the use of art as a tool for exploration and connection among young children. Drawing on her experience in early childhood and Montessori-oriented education, she helps EL CONSULADO develop age-appropriate art workshops for children, shaping activities that bring together visual art, imagination, play, and hands-on learning.

Eric Slater is a writer and former journalist based in New York. Originally from a small logging town in Oregon, his journalism career included time in Iraq and Afghanistan and work as part of the team that received the 1998 Pulitzer Prize for Breaking News Reporting. A MacDowell Fellow, Slater has developed a body of work spanning journalism, nonfiction, and cultural observation. He supports EL CONSULADO as an editorial advisor, proofreading and refining press releases and institutional communications.

Luke Grande is a Venezuelan-American musician, performer, teaching artist, and cultural producer based in New York. A multi-instrumentalist, singer, songwriter, and actor, his practice brings together music, performance, education, and community engagement. He has released several albums and singles and has worked across stage, television, film, and live cultural events in Venezuela and the United States. As a music teacher and vocal coach, Grande develops arts-based learning experiences with an emphasis on creativity, communication, and social-emotional development. He collaborates with EL CONSULADO, helping shape the collective’s public voice, storytelling, media strategy, and live programming.

Natalia Bravo is a bilingual writer and creative professional based in Brooklyn, New York. As Director of Creative Services at TRAMOLOGY, she works across writing, creative production, podcasting, visual communication, branding, and digital content. Her practice centers on storytelling and the development of clear, distinctive narratives across books, scripts, media projects, and cultural initiatives.

The New Art Dealers Alliance (NADA) is a nonprofit arts organization dedicated to cultivating, supporting, and advancing new voices in contemporary art. Founded in 2002, NADA connects an international community of galleries, nonprofit spaces, curators, advisors, and art professionals through fairs, collaborative exhibitions, public programs, membership, and year-round initiatives. EL CONSULADO presented KIOSKO at NADA Miami 2025.

The Elizabeth Foundation for the Arts is a New York-based public charity that provides artists across disciplines with space, tools, and a cooperative forum for developing their practices. Its principal programs include the EFA Studio Program, which provides affordable private studios and career-development opportunities, and the EFA Robert Blackburn Printmaking Workshop, a professional cooperative workspace supporting printmaking, learning, publishing, and exchange among artists and the public.

Chashama is a New York-based cultural organization that partners with property owners to transform unused real estate into affordable spaces where artists can create and present work, small businesses can develop, and communities can participate in arts programming. Founded in 1995, the organization expands access to studios, exhibitions, performances, workshops, and other forms of cultural production throughout New York City and beyond.

LA ESCUELA___ is an artist-run platform for experimental learning and collective making in public space. Working with artists, educators, communities, universities, and cultural institutions, it develops on-site and online projects across Latin America, the Caribbean, and their diasporas. Its Education as Resistance project and the decentralized symposium Redes as Resistance brought together artistic, pedagogical, and community-rooted initiatives across multiple geographic contexts, including programming at MoMA PS1.

MoMA PS1 is a contemporary art institution in Long Island City, Queens, committed to exploring contemporary art and culture, broadening perspectives on the issues of the day, and engaging New Yorkers and communities around the world. EL CONSULADO's relationship with MoMA PS1 developed in the context of LA ESCUELA___: Education as Resistance and the Redes as Resistance symposium, including exchange-group moderation; this listing describes that program context rather than a formal institutional partnership.

Henrique Faria New York is a gallery specializing in Latin American geometric abstraction, conceptual practices, and modern and contemporary art. Established in New York in 2001, the gallery works with historical and contemporary artists and connects their practices with museums, institutional collections, scholars, and international audiences. Its program has played a sustained role in advancing the visibility of Venezuelan and Latin American artists within a broader global context.

eugenia sucre • projects is an independent platform founded in New York in 2025 to develop curatorial and cultural strategies rooted in care, dialogue, and sustainability. Working at the intersection of cultural management, critical thinking, and creative production, it provides strategic advisory, curatorial production, and project management for artists, institutions, collectors, and brands. Its work focuses on Latin American art while encouraging experimental formats, sustained artist relationships, and cross-cultural engagement beyond the conventional gallery structure.

The Field, now operating under the Counterpart name, is a New York-based artist-services organization that supports artists and artist-led organizations through fiscal sponsorship, fundraising tools, professional development, resources, and individualized guidance. Its fiscal-sponsorship program enables eligible artists, collectives, and organizations to receive tax-deductible donations and grants while retaining their artistic independence. The Field serves as EL CONSULADO's fiscal sponsor.

World Central Kitchen is a nonprofit humanitarian organization founded in 2010. It provides freshly prepared meals to communities affected by humanitarian, climate, and community crises, mobilizing rapidly through local organizations, restaurants, food trucks, cooks, and emergency kitchens. Its response model emphasizes urgent action, locally informed partnerships, adaptive operations, and meals served with dignity.