Arts Connection

Venezuelan art entered a Paris classroom. And it didn’t ask permission.

On June 4, researcher Emilio Piñango (Université Sorbonne Nouvelle / Université Côte d’Azur) led two workshops on artistic censorship, political persecution, and exile in Venezuela as part of Les Rencontres de la Recherche 2026 at Université Sorbonne Nouvelle — selected through an open call and scientific committee review.

Among the works presented: Tremendo Cambur, by our founder, Andreína Fuentes Angarita. A piece that turns a very Venezuelan expression — the “cambur,” a well-paid public post obtained not by merit but by political connections — into a sharp visual critique of power.
Two sessions. Dozens of French high school students.

One question that didn’t leave the room:
What happens to an artist who dares to challenge political power?

Emilio Piñango

In 2019, The Wynwood Times invited Venezuelans around the world to write about exile.

But exile doesn’t only belong to those who leave.
Percusiones de la memoria, by Atamaica Mago, won first place alongside Bonito Blue. It is the story of someone who stayed in Venezuela — and who carries inside her the exile of everyone who left.

“My memory is a pacemaker, an arrhythmia of foreboding.”

Five years later, the story is still necessary.
Read the full text at the link in bio.