All KIOSKO proceeds through July 15 will go to World Central Kitchen to support relief efforts following the June 24 earthquake in Venezuela.

Todos los ingresos de KIOSKO hasta el 15 de julio serán destinados a World Central Kitchen para apoyar las labores de ayuda tras el terremoto del 24 de junio en Venezuela.

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Helwing Villamizar

Multidisciplinary Artist

New York

Helwing Villamizar (Venezuelan, born Caracas, 1974) is a multidisciplinary artist who lives and works in New York City. Working across painting, installation, and research-based practices, Villamizar reconstructs state infrastructures, civic symbols, and technologies through processes of material entropy. His work speaks to those who carry places they can no longer fully return to—through exile, memory, or historical rupture. By tracing how national identity is built, circulated, and abandoned, Villamizar recasts ruin as a contemporary relic: an object or image in which past and present remain in precarious tension. 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).

Artworks (8)

Three series: MACCSI Triptych presents three 3D-printed models of the Museo de Arte Contemporáneo de Caracas Sofía Imber, rendered in gold, black, and green—colors evoking mineral promise, oil sediment, and a threatened pastoral imaginary. Reduced to architectural miniatures, the museum becomes an ideological fragment rather than a functioning civic space. Within Inoperable Cities, the work reflects on the fragility of Venezuela’s cultural infrastructure and the suspended modernities of Caracas, where institutional memory survives as a relic circulating through diasporic imagination. Next, Decalcomanic Memory 1–7 comprises oil and colored-pencil bucolic works on salvaged album-divider pages. Blurred, abstract, and materially layered, the series treats memory as a displaced and unstable image: part trace, part invention, and continually altered by the act of remembering itself. Severed 1 and 2 are self-explanatory.