Ana María Caballero is a Colombian-American poet and artist. Her work explores how biology delimits societal and cultural rites, ripping the veil off romanticized motherhood and questioning notions that package sacrifice as a virtue. She is the recipient of the Beverly International Prize, Colombia’s José Manuel Arango National Poetry Prize, the Steel Toe Books Poetry Prize, and a Sevens Foundation Grant and has been a finalist for seven additional literary prizes.
Her Pushcart Prize and Best of the Net-nominated work has been widely published and exhibited internationally, recently at bitforms in New York, Gazelli Art House and UNIT in London and L’Avant Galerie Vossen in Paris. She became the first artist to sell a digital poem at live auction in Spain.
Recognized as a Web3 poetry pioneer, her work has been covered by major media outlets, such as LAWeekly, Forbes, Entrepreneur and Diario ABC. Her digital poems have been released by both TimePieces and Playboy. She’s been a speaker at events organized by the University of the Arts London, Untitled Art Fair, JustMAD, AWP and the Electronic Literature Conference. She’s the author of five books and has a sixth volume forthcoming in 2024. As co-founder and curator at digital poetry gallery theVERSEverse, she’s transforming the way poetry is experienced, exhibited and transacted.
Ana Maria Caballero (b. 1981) is a first-generation Colombian-American poet and artist. Her work explores how biology delimits our societal and cultural rites, ripping the veil off romanticised motherhood and questioning notions that package female sacrifice as a virtue. The speakers in her poems find their voice by navigating the intellectual and the every day, daring to name what’s left unsaid in that all-important space of the home. Her poems are moments of private rebellion made public.
A two day boutique festival immersing attendees in a captivating experience where music, art and nature meet, featuring an eclectic line-up of various genres and niches amidst the raw beauty of nature’s surroundings in the Belgian capital.
Florida’s newest and most exciting art, light and projection mapping festival.
An immersive experience in New York inviting collectors, art lovers, and Web3 enthusiasts to discover and collect digital art.
An online and physical survey/group show of text-based physical artworks by TheVERSEverse in partnership with L'Avant Galerie and Librairie Métamorphoses.
This is Part 2 of an exhibition. Part 1 "Poème Objkt", a conversation between poetry and the visual arts brought to life through the liminal play of the physical and the digital, opened in October 2022 at L’Avant Galerie Vossen.
2023 Crypto Art Award Shortlist, The Lumen Prize.
WAYS TO MISSPELL OBSIDIAN is a collection of spoken-word poems by Ana Maria Caballero that investigates and celebrates the storytelling potential of long-form poetry. Following the passing of a very close friend, Caballero composed JUAN, a eulogy-in-verse. This text serves as both precursor and companion to “Ways to Misspell Obsidian,” a lyric essay written years later in which details of Juan’s passing are braided into the story of the intoxication of Caballero’s young son with nail polish remover.
Caballero culled from the pages of her essay to create two standalone poems, FATHOMLESS and ONCE. Combined with JUAN, these works form a triptych of shared signification, recursion, imagery, and vocabulary in which rhyme, unexpected line breaks, and spacing are used to sketch the shadows of emotion.
Written in Caballero’s signature, straightforward style, the texts read like open heart surgery. The reader is welcome into the folds of each word as an active participant, searching for meaning via memory–but gently. Traumatic and commonplace events are woven together to show how bright bursts of significance hide in every moment of our lives.
Caballero’s poems don’t deliver tidy answers, and they are unapologetic about it. Instead, they invite the reader to sit beside meaning and discover how such proximity can suffice.
“Ways to Misspell Obsidian,” was a finalist for the Emerging Writer’s Contest hosted by Ploughshares, one of the most prestigious literary journals in the US. JUAN was written as a gift for Juan’s sister and is being published, as an artwork, by GAZELL.iO through their first-ever poetry reading at the gallery, on September 29th, 2022.
Interreality: an expansive art exhibition bridging the traditional and digital art worlds through the presentation of works by 35 artists that span the physical-to-digital spectrum.
For more information contact: info@Interreality.art.
A weekly Art & Digital Culture Events for Artists, NFT Collectors and Web3 Enthusiasts
A conversation between the digital and the physical and 2023 Crypto Art Award Shortlist, The Lumen Prize.
“The poem-object is a composition that aims to combine resources from poetry and the visual arts, and to contemplate their capacity for mutual exaltation.”
— André Breton
Poème Objkt is a conversation between poetry and the visual arts brought to life through the liminal play of the physical and the digital. As contemporary expressions of Breton’s poem-object, the pieces in this exhibition present works of poetry, experimental writing and literature on the blockchain that enhance, reinvent and reimagine the relationship between the text and the image, the analog and the digital, ultimately opening up a space for dialogue that blurs and challenges the lines that divide.
This co-curation with L'Avant Galerie Vossen and theVERSEverse in Paris materializes in two parts:
Part 1 opened in October 2022. L’Avant Galerie Vossen and theVERSEverse curated the works of Sasha Stiles, Ross Goodwin, Ana María Caballero, aurèce vettier, Campbell McGrath, Robness, Kalen Iwamoto, Julien Silvano, Jason Sholl, and Saul Steinberg.
This first exhibition’s curatorial framework falls along the following lines:
GENERATIVE LITERATURE
POEM = WORK OF ART
CONCRETE POETRY
CONCEPTUAL
Part 2 takes place May 2023 at Librairie Métamorphoses in Paris, with a section of the exhibition taking place at L’Avant Galerie Vossen.
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Image:
Exhibition view © Photo: Jean-Louis Losi
