https://www.violettebule.com/new-index-3 daily 0.75 2017-07-31 https://www.violettebule.com/new-index-4 daily 0.75 2017-07-31 https://www.violettebule.com/new-index daily 0.75 2017-07-31 https://www.violettebule.com/new-index-1 daily 0.75 2017-07-31 https://www.violettebule.com/new-index-2 daily 0.75 2017-07-31 https://www.violettebule.com/socially-engaged-art daily 0.75 2019-12-07 https://www.violettebule.com/works-1 daily 1.0 2026-04-01 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1519335602817-PFFVVRL9TRJ0BJ14Y7B3/dubkhaimage.jpg VIOLETTE BULE Venezuelan Duhkha Levitation, 2014 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1499812568504-5RRDK5F8X43VQN6TAHFZ/polisaturacion_altamira2.jpg VIOLETTE BULE Plaza Altamira, 2012 Public art installation One year of collection of political posters to make a large canvas, this canvas intervened the opposition and sympathizers government zones of the city (Caracas). Later the Polisaturación is installed in a gallery room to materialize the collective unconscious with a sound piece of all speeches of each candidate, to talk about the visual and political contamination in the urban space, in the past fifteen years. https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1499812850345-2K75ZYZEKJ2AF9T9YNGA/violette_bule_la-naranja1.jpg VIOLETTE BULE Naranjas, 2009 Vanities / The implicated body A myth about female beauty has taken root in our society through the means of mass communication as a kind of social model and control. Vanidades (Vanities) is the title of a well-known women’s magazine, as well as a universal concept. In her proposal, Violette Bule uses the female body as a message, made possible by rereadings from the contemporary appropriation and representation of nudes. The artist rethinks the stereotypes proper to our visual culture through the leading media aesthetics in contraposition to the artistic nude set forth as a consumer object -symbol and message-, but also as a witness of a possible transformation within the performative act in photography. Carolina Rodríguez https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1535235503922-BTV0DAJKHCZY5IKVE0TQ/28828418_10214102856299409_486552972962316830_o.jpg VIOLETTE BULE - REQUIEM200≤ Es una instalación interactiva que rinde homenaje a las más de doscientas personas asesinadas en Venezuela entre febrero de 2014 y febrero de 2018 durante protestas contra el régimen autocrático de Nicolás Maduro. Empleando tecnología de realidad aumentada, REQUIEM200≤ hace posible conocer tanto la identidad de cada víctima como la causa y el lugar preciso de su muerte. Tras descargar una aplicación gratuita, el usuario podrá tener acceso a esta información ubicando su teléfono iPhone o Android sobre el código QR de cada víctima impreso sobre mapas de trece estados de Venezuela que acompañará a la instalación. Cada entrada de REQUIEM200≤ incluye una fotografía de la persona conmemorada. Para la artista, es necesario honrar la memoria de las víctimas poniendo de relieve la individualidad de cada una. “Los crímenes e injusticias perpetrados por quienes detentan el poder suelen reducirse a números y estadísticas,” señala Bule. “Casi nadie recuerda los rostros de las víctimas del poder. Al llamar la atención sobre la brutal represión política llevada a cabo por el régimen de Maduro quiero contribuir a mantener vivo el recuerdo de los rostros de quienes han dado su vida por la libertad de Venezuela.” El nombre de la instalación hace alusión a la dificultad de obtener cifras precisas sobre la violencia política en Venezuela. Tras meses de ardua investigación Bule ha logrado contabilizar más de doscientas personas asesinadas en el marco de las protestas contra el régimen de Maduro. Sin embargo, dada la ausencia de cifras oficiales confiables, la artista reconoce la imposibilidad de corroborar la cifra exacta de víctimas. La puesta en escena de REQUIEM200≤ coincide con el creciente repudio internacional a la deriva autocrática y represiva del régimen de Maduro. A principios de febrero, la Corte Penal Internacional anunció que investigará acusaciones contra el régimen venezolano por violaciones a los derechos humanos, incluido el uso excesivo de fuerza para reprimir manifestaciones. Al respecto, Bule señala que la inmensa mayoría de las víctimas conmemoradas en su instalación murieron como consecuencia de disparos en la cabeza o en el pecho. Michel Otayek https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1695151061402-5ZXKQ1IJ9P6VT4DLPS0M/IMG_2584.jpg VIOLETTE BULE https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1534350726088-MFANRRC1Y9JS5RDIRZXK/dianalacazadoravbule.jpg VIOLETTE BULE - EX-VOTO DIANA LA CAZADORA, 2014 This multi-media installation addresses the issue of violence against women in Mexico, a country with one of the highest femicide rates worldwide. Specifically, the work references Diana la Cazadora (Diana the Huntress), an anonymous woman who committed a string of killings in 2013 to avenge the unresolved murders of hundreds of women in Ciudad Juárez, a city on the Mexico-US border. Originally realized with support from the Patricia Phelps de Cisneros and Soma Summer Mexico, the installation includes a staged photograph, a three-meter-long hand-painted cape, and a collaborative performance centered around the projection of dozens of definitions of the term “femicide.” The photograph evokes the Mexican tradition of retablos or popular votive paintings. The dedication at the bottom of the composition reproduces a letter sent to the police by the unidentified avenger: “You think that because we are women, we are weak, and that may be true but only up to a point, because even though we have nobody to defend us and we have to work long hours until late into the night to earn a living for our families we can no longer be silent in the face of these acts that enrage us. We were victims of sexual violence from bus drivers working the maquila night shifts here in Juárez, and although a lot of people know about the things we've suffered, nobody defends us nor does anything to protect us. That's why I am an instrument that will take revenge for many women. For we are seen as weak, but in reality, we are not. We are brave. And if we don't get respect, we will earn that respect with our own hands. We the women of Juárez are strong." https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1695151566615-M2EKVA7ZW535IHGGAR9U/Screen+Shot+2023-09-19+at+1.21.23+PM.png VIOLETTE BULE - SOMEONE IN MY CAR, 2019 IS A MULTI-CHAPTER TALE OF COURAGE AND KINDNESS IN THE FACE OF THE UNKNOWN--THE UNKNOWN BEING BOTH THE ACTUAL LANDSCAPE/PLACE AND THE SOCIAL LANDSCAPE CREATED BY THE PEOPLE I WOULD RANDOMLY FIND IN THE BACK SEAT OF MY CAR. ADDRESS THE RIDE-SHARING ECONOMY AS A SYSTEM THAT, ON THE ONE HAND, CONTRIBUTES TO THE PRECARIZATION OF LABOR AT A GLOBAL SCALE BUT, ON THE OTHER, FACILITATES SPECIFIC FORMS OF FLEETING AND POTENTIALLY MEANINGFUL INTIMACY BETWEEN STRANGERS THAT OPEN THE POSSIBILITY OF HUMAN RELATIONSHIPS BEYOND THE TRANSACTION. THIS MULTIMEDIA INSTALLATION IS BASED ON MY YEAR-LONG WORK AS A RIDE-SHARE DRIVER IN HOUSTON. IT FEATURES PHOTOGRAPHIC PORTRAITS, VIDEOS OF THE CITY, AND AUDIO CLIPS OF CONVERSATIONS OVERHEARD WHILE DRIVING. THE INSTALLATION ALSO INCLUDES INVOICES AND OTHER DATA RELATED TO THE ECONOMIC DIMENSION OF THESE BRIEF INTERACTIONS. BY LOOKING INTO SPORADIC ECONOMIES RANGING FROM THE MAPS SUCH AS URBAN DETOURS, THE EMPATHIC ENCOUNTER REGISTERED IN THE IMAGES, THE CRITICAL LOOK AT THE SPORADIC ECONOMIES, AND YET THE HORIZON OF THE RE-SIGNIFYING PRECARIOUS LABOR AS AN OPPORTUNITY FOR CREATIVE FLANEURISM, SOMEONE IN MY CAR INVITES VIEWERS TO CONSIDER DIFFERENT ASPECTS FROM THE DUAL PERSPECTIVES OF PASSENGER AND DRIVER. https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1713978425418-T2ZG0963K7MA1Q40LGVX/5.Bule_Violette_DreamAmerican.jpg VIOLETTE BULE https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1717286276351-BW2VAIZNYG9NESAF015U/ViolettedrawingHelicoide105.jpg VIOLETTE BULE - ECHO CHAMBER WORKS THAT PRESENT THE INVESTIGATION INTO VENEZUELAN POLITICAL PROCESSES. THEY CONSTITUTE A MULTISENSORY EXPERIENCE THAT INVOLVES TANGLED TEMPORALITIES AND INTERSECTING GEOGRAPHIES, PIECES OF AN EVER-CHANGING PUZZLE IN WHICH THE COUNTRY'S RECENT HISTORY IS PUT TOGETHER AND DISASSEMBLED AND WHERE TODAY WE CAN FIND SIMILARITIES IN THE EFFECTS OF POPULISM AND THE POLARIZATION THAT EXISTS TODAY IN THE UNITED STATES. https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1710694670164-I4BB8UF1P30K0X86FNK1/fdfv.JPG VIOLETTE BULE - SER PARA OTROS / BEING FOR OTHERS Being for Others, born from the unexpected passing of my father in 2021, forced me to face the painful challenge of overcoming geographical distance in my situation as an immigrant bearing an expired Venezuelan passport at a time of personal mourning and mobility restrictions on a global scale. This installation is grounded in this intimate personal context but proposes an expansive reflection on identity and transit across physical and bureaucratic space. This project is a beacon of hope for those grappling with the disorientation of force-displacement and those navigating the complexities of sovereignty infringement. A participatory installation that projects personal portraits and photographs from collaborators, accompanied by an audio poem I wrote. The accompanying poem is recited by participants of different nationalities, most immigrants, who read an adaptation of the text in their native language. Over 242 personal portraits are accompanied by an audio poem translated into 22 languages by 70 collaborators. This spectral, confounding quality of this ensemble unframes memory as an embodied experience operating at an individual level, instead pointing to the diffusion of reminiscences across the collective, questioning the relationship between memory and identity. This ongoing project that welcomes spectators to rethink the value of empathy in times of immigration crisis and multiracial acculturation in today’s societal discussions and political campaigns. https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1525027729978-UFE00W6BC3QLJN2I6USS/requiem+pieza+editada.jpg VIOLETTE BULE - REQUIEM200≤ - Public art at Washington Square Park - NY 2018 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1774966024967-HIEVI8J6SV2P4AK4HXNR/3_Tocuyito.jpg VIOLETTE BULE - de la LLECA al COHUE: Photography in Venezuelan Penitentiarie Between 2010 and 2012, I led a series of free, voluntary photography workshops in five Venezuelan prisons, engaging over three hundred incarcerated individuals. Through trust-building, negotiating power dynamics, and fostering mutual agency, Bule guided participants in exploring the history of photography, alongside exercises in formal experimentation and self-expression. This experience created a large photographic archive, which she protected after emigrating from Venezuela. The project resists any attempt to define or expose a singular reality of Venezuelan prisons. Instead, it invites readers to navigate the tension between what images reveal and what remains hidden, between the potential for encounter and the persistence of distance, and between the photographers' self-representation and the systemic forces that render them invisible. Rather than reenacting narratives of violence or serving as a tool for sociopolitical critique, the book approaches incarceration obliquely, allowing for unpredictable forms of engagement. Prison jargon's opacity underscores its central role in shaping belonging, trust, and survival in carceral contexts, while challenging photography's historical tendencies toward objectification and romanticization. de la LLECA alCOHUE:Photography in Venezuelan Penitentiaries offers a layered portrayal of the inalienable humanity of incarcerated individuals. In a global context marked by mass incarceration and penal populism, particularly under neoliberal restructurings in Latin America, the book gestures toward forms of resistance that move beyond polarized debates and the political dehumanization of those within carceral systems. Photo: Armando Rojas https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1695147419407-YOYYT37QHTIQF1WNX61F/AmericanDream_VBule.jpg VIOLETTE BULE - Dream America, 2015 Dream America examines the structural inequalities and forms of violence that shape the everyday lives of vulnerable communities. It invites viewers to confront an unresolved tension between migration, acculturation, and profit—individual and systemic, cultural and material. The photograph, which shares the series’ title, depicts a former restaurant co-worker balancing a heaping tray of dirty dishes on one side and the American flag on the other. It emerges from my early experience as a newly arrived Venezuelan artist in New York City, navigating the liminal space between making art and making a living. https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1775016555437-9D213MY9YPXFRCQHRXU3/Bule_Violette_RethinkingYourNeighborhood.jpeg VIOLETTE BULE - Rethinking Your Neighborhood Rethinking Your Neighborhood is an interactive public art installation. It is an invitation for visitors to engage in a collective experience of constructing a shared vision for their community and a catalyst for unified advocacy with community leaders and elected officials-- starting with the collection of information based on interviews and surveys, followed by the playful interactions with the grid and sculptures, deepening with the thoughtful understanding of the information presented, sparking creative proposals and continuing with collective action towards an enriched neighborhood. Founded by Art League Houston, MOCA Houston, and Houston Art Alliance https://www.violettebule.com/photography daily 0.75 2024-06-01 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1534177016442-0BFEAK0YM2FD7TOIXREE/002_006.jpg PHOTOGRAPHY https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1534360752879-14OP5XE7SAUGORD0BZ7A/Omnia-mors-aequat-web.jpg PHOTOGRAPHY - Mindfulness, 2017 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1534703791835-F61QOD5NO8W1FQRJD7P3/Imagen-5344_web.jpg PHOTOGRAPHY https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1534363210529-NLGBM45EAR706J20YQU5/diptico-jessica-piernas.jpg PHOTOGRAPHY Madrid, 2010 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1519338582300-RNST0KQ6WUJ2VTEDAV4X/8web.jpg PHOTOGRAPHY Daydream, Madrid, 2010 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1699855730781-IL0R4CLF9AXTTP5X7B7G/Screen+Shot+2023-11-12+at+11.08.12+PM.png PHOTOGRAPHY - TABLEAUX DÉLIRANTS 2008-2013 THIS PHOTOGRAPHIC PROJECT FEATURES A SERIES OF STAGED FICTITIOUS SCENES SET IN SOME OF THE URBAN SPACES. WHERE I HAVE LIVED. COMPOSED IN THE TRADITION OF THE TABLEAU VIVANT, THESE DELIRIOUS CITYSCAPES MOBILIZE SATIRE AS BOTH A SURVIVAL TACTIC AND A TOOL TO QUESTION SOCIAL DYNAMICS AND POWER STRUCTURES THAT SUBJECT US TO CORRUPTION, VIOLENCE, AND GREED. https://www.violettebule.com/new-gallery-5 daily 0.75 2024-06-01 https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1717221294022-BE4RX6WFONUAESKPHNPL/Screenshot+2024-05-31+at+11.54.11%E2%80%AFPM.png NEWS https://www.nytimes.com/2023/03/08/arts/design/artist-job-blanton-museum.html https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1717221294022-BE4RX6WFONUAESKPHNPL/Screenshot+2024-05-31+at+11.54.11%E2%80%AFPM.png NEWS https://www.nytimes.com/2023/03/08/arts/design/artist-job-blanton-museum.html https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/1717221503818-UJP2CBD1VGD85HI4PZT6/Screenshot+2024-05-31+at+11.58.03%E2%80%AFPM.png NEWS https://www.outsmartmagazine.com/2020/07/art-that-demands-justice/ 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https://images.squarespace-cdn.com/content/v1/59642c8b414fb52a41587213/50611338-ab3f-42cf-87dc-39a6d51feb29/VioletteBule.P.jpg ABOUT