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About

Infrastructural Rhytms —Conneting Water, Art and Science across bounderies
Interferometer —Measurements and mediations of slower space-time
Brief proxemic study for the temporal reconfiguration of distances and measurements






Production

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La altura indefinida
El nadador
La grieta
Or the other way around

[ Gaviria Bedoya ]
[ Londoño Hernández ]
[ Londoño Hernández ]
[ Gaviria Bedoya ]
   

abraso  is an artistic collective formed by Camilo Londoño Hernández and Juan Pablo Gavira Bedoya, two Colombian artists living in Germany. Since 2022, we have founded the Mobile Center for Intratropical Artistic Research and Affective Practices as a way to study the movements, commotions, relations, tensions, and fictions between the Global South, where we come from, and the Global North, where we reside (temporarily). From here (and there), we aim to highlight the crisis points between the center and geopolitical peripheries, exploring relations of scale in dialogue with various disciplines. 

In our recent career, we have participated in different shows and festivals in South America and Europe with projects like our performative video installation “La altura Indefinida” presented at the Pontificia Javeriana University and granted by the Ministry of Culture in Colombia; or the movie “El Nadador”, as a work in progress selected in spaces like FIDBA - International Documentary Film Festival of Buenos Aires and ENCOURAGE Talents Berlin. Recently, we performed our first residency, hosted by the PARCE Art Initiative in Ghent, Belgium, and supported by the Goethe Institut. Currently, we are collaborating with the Humboldt-Universität to present an interdisciplinary project between arts and sciences at the Fluid Interdisciplinarities Festival in Berlin next Autumn. 
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abraso / Centro Móvil de Investigación Artística y Prácticas Afectivas Intratropicales
(Mobile Center for Intratropical Artistic Research and Affective Practices)


abraso.info@gmail.com
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06.La grieta

Colombia
2024[ Londoño Hernández ]


Coincidentally, two friends took the same photo without saying to each other during a trip to Bolivia. Once they realize this, they decide to reorder their memories of the South America landscape. In a constant question of the value of photography, film, and montage as memory devices, this experimental documentary narrates the experiences of crossing the Andes to interrogate the body and its relationship with the ditches of Latin American territory. Their intimate dialogue of this journey becomes a poetic, sound, and visual essay that unfolds, from the present, memories, feelings, and ideas about time, politics, and intimacy.