Transient Curated is pleased to present a limited series of generative works from Pace, Ana María Caballero’s first cinematic AI multichannel installation, which combines choreography, performed poetry and custom-coded visuals.
In these stills, an algorithm translates the poet’s body-in-motion into graphic lines, twirling them around fragments of her poem Pace and scenes from her groundbreaking film.
Pace is from Caballero’s prize-winning seventh book Material, forthcoming in 2026. It represents an exciting expansion in her explorations of how human and machine-driven readership co-evolve, a line of exploration present in works such as Ropa sucia, today in the collections of the Reina Sofía Museum and MACBA Barcelona.
Pace Generative Stills represent a generative reading of the poem.
Accompanying the multi-channel video work Pace, these still, generative images are designed to emulate an unbound folded book.
These compositions draw on a visual language developed in the poet's prior works, where she transformed verse into handmade marks by applying chalk and acrylic paint to her body while performing her choreographic poems.
Scattered moments from Caballero’s choreography contextualize this mark-making as they dance between the words of the poem on the page.
The resulting etchings speak an evocative, guttural language, a poetic mark-making that transmits the immediacy and urgency of performance.
The Video Work
Pace generative stills were recently presented by Office Impart in Berlin, alongside the multi-channel video work. In the recent micro poetic film, Ana María Caballero pays homage to Pipilotti Rist’s Ever Is Over All and proposes an evolution in personal empowerment. Whereas Rist’s protagonist symbolically takes down failed systems, Caballero’s main character practices radical repair.
Pace posits that private joy is as powerful a form of resistance as destruction.
Caballero stars in her own work, performing gleeful movements rooted in Latin American salsa music, which she grew up dancing and accesses as a source of resilience. As she advances, urban wreckage repairs.
By contrast, in Rist’s work, a woman smashes car windows with a flower as she walks down a street, an exuberant smile on her face, similar to the smile she’s given by a passing policewoman, who presumably approves of the destruction. The works are connected through the protagonists' outward and exaggerated expressions of self-possessed joy and their public (and thus out-of-place) physicality. Both works are also linked through the protagonists’ red shoes, signaling confidence in the trodden path.
In Pace, Madrid’s Calle del Barquillo is recreated through AI because a pharmacy that bears her father’s name, F. Caballero, exists there in actuality. Caballero pilgrimed here daily as she mourned her father’s death, finding solace in its presence.
The second part of this multichannel installation consists of coded visuals, the result of a custom algorithm that reads Caballero’s body-in-motion and translates it into graphic marks, probing the connection between embodied experience and our attempts to record it.
Both channels of the video work, as well as a generative still can be collected through the purchase of the token below. Both video editions will be minted to the collector after purchase.
Please inquire if you have any questions or would like more information.
About Ana María Caballero:
Ana María Caballero is a Colombian-American multidisciplinary artist and poet whose work critically examines how biology shapes cultural and societal structures, particularly the gendered ideal of sacrifice.
Through a practice spanning poetry, performance, sculpture and digital installation, Caballero challenges entrenched narratives, revealing the often-silenced emotional and existential costs of care. Her work also explores memory and the evolution of the book into the contemporary and digital world.
Caballero's innovative fusion of literature and technology has positioned her at the forefront of digital poetry. She co-founded theVERSEverse, a digital poetry gallery, is the first living poet to sell a poem at Sotheby’s and the first artist ever to receive a triple Lumen Prize finalist nomination.
The author of eight books, her work is in the collections of the Reina Sofia Museum, MACBA Barcelona, the Ashmolean Museum, HEK Basel, Francisco Carolinum Museum, the Arab Bank Switzerland, Spalter Digital and Mad Arts Museum.
She’s performed live at the Venice Biennale Vernissage, Art Basel, Art Genève, Fundación Telefónica, and Fundación Juan March. Her work is often featured in outlets like Artnet, The Art Newspaper, Poetry International, BOMB, El País, Monopol, Weltkunst Magazine, El Espectador, Elle UK and NPR. In 2025, she was named one of Forbes' Top 50 Latin Women to Follow, recognizing her significant contributions to contemporary art and literature.
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