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	<title>antoniobermudez.com</title>
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	<pubDate>Thu, 12 May 2022 14:24:22 +0000</pubDate>
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		<title>Portada ENG SIMPLE</title>
				
		<link>https://antoniobermudez.com/Portada-ENG-SIMPLE</link>

		<pubDate>Thu, 12 May 2022 14:24:22 +0000</pubDate>

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		<title>Casa Ortiz-Schultejans</title>
				
		<link>https://antoniobermudez.com/Casa-Ortiz-Schultejans</link>

		<pubDate>Tue, 28 Sep 2021 22:29:12 +0000</pubDate>

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		<description>Casa Ortiz-Schultejans

Vivienda Unifamiliar, Construido

2019

	
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		<title>Nature is not Green</title>
				
		<link>https://antoniobermudez.com/Nature-is-not-Green-1</link>

		<pubDate>Tue, 19 Apr 2022 23:16:03 +0000</pubDate>

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		<description>&#38;nbsp;Nature is not Green











Video Installation , 2021

	
	&#60;img width="5349" height="3571" width_o="5349" height_o="3571" data-src="https://freight.cargo.site/t/original/i/e73c61fcefc1c25beeca61d09c6c97f8785ba5c560efc58b50fa0cd0d0cbf2fb/3-DSC_7547-Ph-Leonardo-Morfini--ADRYA.jpg" data-mid="140106060" border="0"  src="https://freight.cargo.site/w/1000/i/e73c61fcefc1c25beeca61d09c6c97f8785ba5c560efc58b50fa0cd0d0cbf2fb/3-DSC_7547-Ph-Leonardo-Morfini--ADRYA.jpg" /&#62;

Video installation composed of two projections 4 x 7 meters. 11 hours 
NAM Manifattura Tabacchi- SUPERBLAST- Firenze, 2021.




	



	






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&#38;nbsp; &#38;nbsp; “In Nature Is Not Green, the visitor is immersed in an environment that appears cohesive but which, over time, reveals its discordant contrasts. We view two landscapes remotely: the installation juxtaposes these two environments situated at opposite ends of our Planet as they are recorded in
real time, during the longest day of the year. The Amazon forest in Brazil is a paradigm of a nature that is still primordial, violent and wild, whereas one of the several cultivated forests in Holland, is the prototype of nature designed to represent a tamed, classic ideal, suffused in an aura of safety and serenity. Ironically, these two landscapes are united by a common destiny as they fall prey to the capitalist practices of resource extraction and tree recycling, which are dictated by similar economic aims. This work reveals a speculative financial strategy and it spurs awareness about the remnants of a colonial treatment of nature and its resources. Biopower and its dominion over nature are expressed by the control over its image. This work by Bermudez Obregon shows a dichotomy between phenomenon and thing, image and its origin, and investigates the living possibilities of the boundary that separates them.”

Caterina Taurelli Salimbeni , Curator




	
	

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&#38;nbsp; &#38;nbsp; Many
European nations find
ecological
comfort in projects of reforestation, re-wilding, bio-politics, and
eco-friendly legislation within their own borders, but there is a
common negligence and voluntary
abandonment towards nature in the ex-colonies and in general, towards the
global south.

 



	

	
	

In
2015 The
Royal Dutch Shell PLC oil and gas company extracted
daily near
to 20.000 barrels (1.5M
worth) of crude from
The Amazon forest, almost
20% of the total 230.293barrels extracted daily from that geographical
place. The presence of
this company on amazonian land goes back to the 1930’s, a town
called Shell was founded in
the Ecuatrian Amazon
back then, and billions
of barrels of crude
have been extracted
since.



	

	
	

Companies
like
Shell,
responsible
for a high percentage of global carbon emissions, tend to make
significant investments in projects to reduce their carbon footprint.
For example, The Royal
Shell is today the
main private 
financier of Staatsbosbeheer reforestation
program in The Netherlands. The
Shell
affirms
to
have secured
the plantation of 5 millions trees inside The Netherlands border. 




	

	
	In
The Netherlands there
is no untouched nature, there
is no entropy left. Every
landscape
is voluntarily
created and designed following an accepted image of what nature
should look like. Policy determines the appearance of nature, and the
image to reproduce is one of
a primeval closed forest, and
that is what is planted as
ornament of human dwellings.
	

	
	

The
Amazon forest in
this case, seems to be
a
sequestered
landscape,
and besides that,
re-wilding
projects
in Europe, like
the ones being developed in The Netherlands by the Staatsbosbeheer,if
isolated, are
no
different from gardening projects enclosed
by high fences. They
are
no different
to
Assyrian hunting parks,
which were
just
enclosed
park-sized gardens built to recreate wilderness, and make a spectacle
out of the king hunting his “wild” preys.&#38;nbsp;


	

	
	

In
any event, both of
these
natural landscapes, are now connected
by political
or economical reasons. 5 Million trees in Dutch forests owe their
existence to almost one hundred years of continuous
devastation in The Amazon.


	

	
	

These
two landscapes will have a conversation. In this time of virtuality and remote presentness,
it
is possible to
bring
this two
places together into the same space. Let’s have the
ancient rainforest of the Amazon and the young European woods have a
zoom call and work this out together.



	

	
	



&#60;img width="2997" height="2001" width_o="2997" height_o="2001" data-src="https://freight.cargo.site/t/original/i/33fc6327d6871bb81072146dcb45914565a04dbdfc775b8f91be7529af76ac49/4-DSC_7556-Ph-Leonardo-Morfini--ADRYA.jpg" data-mid="140106478" border="0"  src="https://freight.cargo.site/w/1000/i/33fc6327d6871bb81072146dcb45914565a04dbdfc775b8f91be7529af76ac49/4-DSC_7556-Ph-Leonardo-Morfini--ADRYA.jpg" /&#62;


	


	
	
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		<title>Umbral Viene de Sombra</title>
				
		<link>https://antoniobermudez.com/Umbral-Viene-de-Sombra</link>

		<pubDate>Mon, 25 Apr 2022 16:49:31 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Umbral-Viene-de-Sombra</guid>

		<description>Umbral viene de Sombra

3d Space / Virtual Experience

2021


	
	&#60;img width="1807" height="916" width_o="1807" height_o="916" data-src="https://freight.cargo.site/t/original/i/76ad427803a71fd2836b760e2a5e9b5f0ad6b053fb2b07fe6a9f52fd08df0520/Captura-de-pantalla-2022-03-22-143635.jpg" data-mid="140642989" border="0"  src="https://freight.cargo.site/w/1000/i/76ad427803a71fd2836b760e2a5e9b5f0ad6b053fb2b07fe6a9f52fd08df0520/Captura-de-pantalla-2022-03-22-143635.jpg" /&#62;

3d space for💐 𝒄𝒖𝒆𝒏𝒕𝒂 𝒄𝒐𝒏𝒎𝒊𝒈𝒐, 𝒎𝒊 𝒂𝒎𝒐𝒓 💐&#38;nbsp;

an online exhibition proposal curated by MSD (Sebastián Mira + Daniela Gutiérrez-Gonzalez), 2021



	



	






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The work/3d space/experience invites us to inhabit a limit, the line between the known and the unknown, the liminal space where our wildest fears and oldest myths dwell. Wolfs, tigers, pumas, mythical creatures, and magical forces inhabit this dark threshold (“el umbral”).

Wilderness is becoming today just an abstract idea. In some parts of the world, like in The Netherlands, there are no uncontrolled, free, deserted, or extreme places anymore. There are no primeval forests nor high mountains. The limit between wild territories and man-made landscapes does not exist anymore. There is no fear nor magic around the idea of nature. Territory is traced as a concatenation of enclosed gardens without obverse.

Pestbosjes, Dutch for pest-groves or pest-woods, are still existing elements of the historical landscape in some parts of The Netherlands. They look like small groves enclosed by a ditch; they are similar to convenience woods but with a different and unusual function. These small pieces of land were marked off between the 16th and 19th centuries to bury and isolate cattle lost because of infectious diseases and plague epidemics. These places still exist because of the apprehension of diseases like anthrax, which can remain contagious for more than one century. These enclosed forests originated by death and illness are nowadays islands of diversity and carry an almost mystical meaning. The landscape in this part of the world has long since been lost. These Pestbosjes incorporate all the fear and vitality that the disappeared wilderness used to embody.

These enclosed places are deserted, devoided of humans. They are at the same time gardens and feral places, the smallest fragment of land and the entire world. These parcelles can only be inspected from a distance. Wilderness has been objectified and our relation to it became fetishism in disguise.



	

	

	
	

	
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“... the work of Antonio Bermúdez addresses symbolic geographies shown through a metanarrative. ”



MSD , Curatorial Team.


	

	
&#60;img width="1813" height="916" width_o="1813" height_o="916" data-src="https://freight.cargo.site/t/original/i/2db46b1dcd9edd61d7c4064eba640346c9f2b4d39c268011e2f0d43502015843/Captura-de-pantalla-2022-03-22-143614.jpg" data-mid="140642988" border="0"  src="https://freight.cargo.site/w/1000/i/2db46b1dcd9edd61d7c4064eba640346c9f2b4d39c268011e2f0d43502015843/Captura-de-pantalla-2022-03-22-143614.jpg" /&#62;&#60;img width="1812" height="922" width_o="1812" height_o="922" data-src="https://freight.cargo.site/t/original/i/994661a9d1a3721644c9cbc817d3d6bb74de98913172299c27ea8cb0945c559f/Captura-de-pantalla-2022-03-22-143051.jpg" data-mid="140642981" border="0"  src="https://freight.cargo.site/w/1000/i/994661a9d1a3721644c9cbc817d3d6bb74de98913172299c27ea8cb0945c559f/Captura-de-pantalla-2022-03-22-143051.jpg" /&#62;

	

	
	

	
	
	
	





This work takes part of an online exhibition proposal curated by MSD (Sebastián Mira + Daniela Gutiérrez-Gonzalez) that explores ways of approaching, modifying and occupying the natural, the landscape and its representations. It is also a curatorial and investigative project that delves into an interest in touch, the haptic, corporeality, speculative practices, and affective methodologies that we exercise from our position as curators and artists.



 



	

	
	&#60;img width="1806" height="920" width_o="1806" height_o="920" data-src="https://freight.cargo.site/t/original/i/95389c92a56442094e20e91f023a2436e3f2da2091f942c93772b429ffe08b28/Captura-de-pantalla-2022-03-22-143546.jpg" data-mid="140642987" border="0"  src="https://freight.cargo.site/w/1000/i/95389c92a56442094e20e91f023a2436e3f2da2091f942c93772b429ffe08b28/Captura-de-pantalla-2022-03-22-143546.jpg" /&#62;&#60;img width="1805" height="917" width_o="1805" height_o="917" data-src="https://freight.cargo.site/t/original/i/dcda70f25389bd7399561c038dee6f5252b6c853712c2543c9e48c448583e611/Captura-de-pantalla-2022-03-22-143436.jpg" data-mid="140642985" border="0"  src="https://freight.cargo.site/w/1000/i/dcda70f25389bd7399561c038dee6f5252b6c853712c2543c9e48c448583e611/Captura-de-pantalla-2022-03-22-143436.jpg" /&#62;
&#60;img width="1812" height="917" width_o="1812" height_o="917" data-src="https://freight.cargo.site/t/original/i/b372b9865b4c01222c16defd5ff340d6b12c89774e4795cae0b438045fe57ade/Captura-de-pantalla-2022-03-22-143148.jpg" data-mid="140642982" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b372b9865b4c01222c16defd5ff340d6b12c89774e4795cae0b438045fe57ade/Captura-de-pantalla-2022-03-22-143148.jpg" /&#62;


	

	



	







	

	
	http://cuentaconmigomiamor.xyz/

	

	
	


	

	
	

	

	
	




	
</description>
		
	</item>
		
		
	<item>
		<title>Toponyms for a Distracted State</title>
				
		<link>https://antoniobermudez.com/Toponyms-for-a-Distracted-State</link>

		<pubDate>Mon, 25 Apr 2022 21:21:17 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Toponyms-for-a-Distracted-State</guid>

		<description>

Toponyms for a 
Distracted State

Installation/Editorial, 2018


	
	



	

&#60;img width="1500" height="1016" width_o="1500" height_o="1016" data-src="https://freight.cargo.site/t/original/i/723c37c33f332c8eb1cfd8fb8da30a30cb4ff99f2016390d838007fa2a09de80/TPPED-1-of-9-copy.jpg" data-mid="140669919" border="0"  src="https://freight.cargo.site/w/1000/i/723c37c33f332c8eb1cfd8fb8da30a30cb4ff99f2016390d838007fa2a09de80/TPPED-1-of-9-copy.jpg" /&#62;39 satellite images and 39 real names of places that outline important truths. Installation for Artecámara, Artbo, Bogotá, Colombia, 2018. Curated by Carolina Ponce de León.













	



	






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This is a sound image that is inscribed in memory.



&#38;nbsp; &#38;nbsp; A journey through the most desolated areas of Colombian territory in Google Maps; 39 names of places were collected from 39 images of geography. The images, enlarged and processed became 39 prints. Each “poster” has an ink stamp on the bottom that completes a sentence started by the name of the place.



The names of the territory usually correspond to the encounter of natural elements that compose it with human and cultural presence that inhabits it. This meeting can be called an act of identity, an act of orientation or a landscape.

To name something (or some place) is to tear it away from onomastic chaos in order to make it participate of a symbolic order, of a system of myths and rites, of a mythology. To name something is to unite it forever to the meaning that bears its name.

It is proposed to decipher these relations between the natural and the cultural: the territory and its denomination. The place-name crystallizes the variety and richness of the interactions between human beings and their geography: rather than describing it, it evokes. The landscape seen from the sky, however, describes territory. It fixes the insistent human habitation in a turbulent and unstable territory.

The different satellite photographs make sense as a whole by capturing a psychological, geographical and social complexity that goes beyond the romantic mold of state fiction.

The 39 names, innocuous, seem to fail to belong to any symbolic system. It seems that they were simply spilled on the territory.




	

	

	
	

	
	
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/1c949f2d1c43e8953d40fd9e1c583738cc5fffee549ea9af4984b6ea95aaf2e8/TPPED-9-of-9-copy.jpg" data-mid="140669997" border="0"  src="https://freight.cargo.site/w/1000/i/1c949f2d1c43e8953d40fd9e1c583738cc5fffee549ea9af4984b6ea95aaf2e8/TPPED-9-of-9-copy.jpg" /&#62;

&#60;img width="1500" height="1094" width_o="1500" height_o="1094" data-src="https://freight.cargo.site/t/original/i/465aafdf1466d26766f097123fa103ed84fd85ee01eaad938e3eea62f4b9fa33/TPPED-2-of-9-copy.jpg" data-mid="140670000" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/465aafdf1466d26766f097123fa103ed84fd85ee01eaad938e3eea62f4b9fa33/TPPED-2-of-9-copy.jpg" /&#62;


	



	
	



The thick nature that shapes this territory entails an irrepressible force which today is still associated with violence.






	
	

&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/4d2df7a3bc3716aca65bedafd545613ef9a2714ebea196db5befc73f378a9960/BERMUDEZ_Antonio_Foto2-copy.jpg" data-mid="140670006" border="0"  src="https://freight.cargo.site/w/1000/i/4d2df7a3bc3716aca65bedafd545613ef9a2714ebea196db5befc73f378a9960/BERMUDEZ_Antonio_Foto2-copy.jpg" /&#62;&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/16f63f101281cc317a9e49aa946ae766bfb30a36a4fcc68f4a887106b7457b20/TPED-16-de-4-copy.jpg" data-mid="140670014" border="0"  src="https://freight.cargo.site/w/1000/i/16f63f101281cc317a9e49aa946ae766bfb30a36a4fcc68f4a887106b7457b20/TPED-16-de-4-copy.jpg" /&#62;&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/d764ac2ab99310e4ea38a67aa130ff291d6d7d08fda1466e8f7e60401f0ac6a3/TPED-15-de-4-copy.jpg" data-mid="140670038" border="0"  src="https://freight.cargo.site/w/1000/i/d764ac2ab99310e4ea38a67aa130ff291d6d7d08fda1466e8f7e60401f0ac6a3/TPED-15-de-4-copy.jpg" /&#62;&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/b37500adba351c1d8704975ec16811e89b81af4271345c634bbf7b58d34ff749/TPED-14-de-4-copy.jpg" data-mid="140670045" border="0"  src="https://freight.cargo.site/w/1000/i/b37500adba351c1d8704975ec16811e89b81af4271345c634bbf7b58d34ff749/TPED-14-de-4-copy.jpg" /&#62;
	

	
	&#60;img width="1500" height="993" width_o="1500" height_o="993" data-src="https://freight.cargo.site/t/original/i/268bfc1c9712ec164a8ae2bafa8c46d41a24e274214ee33aab5c79e9de23d227/TPPED-8-of-9-copy.jpg" data-mid="140670071" border="0"  src="https://freight.cargo.site/w/1000/i/268bfc1c9712ec164a8ae2bafa8c46d41a24e274214ee33aab5c79e9de23d227/TPPED-8-of-9-copy.jpg" /&#62;
&#60;img width="1500" height="2152" width_o="1500" height_o="2152" data-src="https://freight.cargo.site/t/original/i/dbada13dc13b10ebec65ca259d31b3c510288924570c6be9dfc9f7203a56fe6d/TPPED-3-of-9-copy.jpg" data-mid="140670463" border="0"  src="https://freight.cargo.site/w/1000/i/dbada13dc13b10ebec65ca259d31b3c510288924570c6be9dfc9f7203a56fe6d/TPPED-3-of-9-copy.jpg" /&#62;
&#60;img width="1500" height="2213" width_o="1500" height_o="2213" data-src="https://freight.cargo.site/t/original/i/d2e6f4e4a6a79b2b19d9267ecc013e3abd18512b4e822c93de9f95a7f696bd89/TPPED-4-of-9-copy.jpg" data-mid="140671073" border="0"  src="https://freight.cargo.site/w/1000/i/d2e6f4e4a6a79b2b19d9267ecc013e3abd18512b4e822c93de9f95a7f696bd89/TPPED-4-of-9-copy.jpg" /&#62;



	

	



	




&#60;img width="1500" height="980" width_o="1500" height_o="980" data-src="https://freight.cargo.site/t/original/i/3b6c83c7a27b7cc945c15fe7c5ba27aaec74128f87309b8c1597448fd4ae22b1/TPPED-7-of-9-copy.jpg" data-mid="140670083" border="0"  src="https://freight.cargo.site/w/1000/i/3b6c83c7a27b7cc945c15fe7c5ba27aaec74128f87309b8c1597448fd4ae22b1/TPPED-7-of-9-copy.jpg" /&#62;

	

	
	&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/1c949f2d1c43e8953d40fd9e1c583738cc5fffee549ea9af4984b6ea95aaf2e8/TPPED-9-of-9-copy.jpg" data-mid="140669997" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/1c949f2d1c43e8953d40fd9e1c583738cc5fffee549ea9af4984b6ea95aaf2e8/TPPED-9-of-9-copy.jpg" /&#62;

	

	
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Back to The Center of The World</title>
				
		<link>https://antoniobermudez.com/Back-to-The-Center-of-The-World</link>

		<pubDate>Mon, 25 Apr 2022 22:48:37 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Back-to-The-Center-of-The-World</guid>

		<description>



Back to The Center of The World



Installation/Archival , 2017
	
	&#60;img width="4000" height="2796" width_o="4000" height_o="2796" data-src="https://freight.cargo.site/t/original/i/040b9546d4fa266398d8277a51678b30cdb903ad4a4255ed8923b6a9c4bdd488/CHIMBO33.jpg" data-mid="140678206" border="0"  src="https://freight.cargo.site/w/1000/i/040b9546d4fa266398d8277a51678b30cdb903ad4a4255ed8923b6a9c4bdd488/CHIMBO33.jpg" /&#62;







	

This work was shown at The MET, Quito in 2020, at Museo de Arte de a Universidad Nacional, Bogotá in 2019 and in Espacio el Dorado, Bogotá in 2017.












	



	






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“Bermudez constructs a taxonomy of the Humboldtian variations on the American landscape. To do this, he uses archival work, through the obsessive pursuit of prints and books of travelers of the nineteenth and twentieth centuries, tracking the variations, stereotypes, imaginaries, perceptions, exoticism and political constructions of that pictorial collage that was the Americanist painting of the nineteenth century.

This universe of meaning that has lasted long to us (and that has helped to build power relations between nations and people). The images will need to be analyzed; we will have to understand their images, how they were built, assembled and disseminated. We must begin to deconstruct the universe of imaginary forms that not only inhabit those old engravings (but also within us): a universe that populates our mind and shapes the senses; we will have to dismantle that intricate collage that builds us and explains us.”
Halim Badawi, Art critic.








	

	

	
	

	
	






&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/9f8e96c4ae90c4483ae8922e919f332d85328b4c6bfeec7f601bd91704b46e2b/ABermudez-fotoOM-3-1.jpg" data-mid="140678259" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9f8e96c4ae90c4483ae8922e919f332d85328b4c6bfeec7f601bd91704b46e2b/ABermudez-fotoOM-3-1.jpg" /&#62;



	



	
	





“I was able to show how the outdated colonial gaze upon South American landscape is still imbued in official representations of this territory.”








	
	
&#60;img width="2500" height="1528" width_o="2500" height_o="1528" data-src="https://freight.cargo.site/t/original/i/bc1a054be9385b627e53f18ced140e7382a8b4c24e3febb4c16afb81b2966561/Chimborazos-1.jpg" data-mid="140678230" border="0"  src="https://freight.cargo.site/w/1000/i/bc1a054be9385b627e53f18ced140e7382a8b4c24e3febb4c16afb81b2966561/Chimborazos-1.jpg" /&#62;


	

	
	

	
	
	
	


 



	

	
	
"In other words, the construction of the Andean landscape -and of American nature- was a process of visual epistemology in which knowledge was created, influenced by the origin of the travelers and by their personal contemplation. The Andean landscape was shaped by comparison and decontextualization by those who did not inhabit the territory in the 19th century. This produced an image culturally constructed by curiosity about the foreign, which allowed a discursive function in the images of the Andes when they were discussed.(...)This situation implied the transposition of the concept of landscape from European to American nature, a movement that marked the historical processes of identity in the continent from the knowledge that was being formed".

Luis Rey Celis, Art Historian





	

	



	
&#60;img width="3967" height="5590" width_o="3967" height_o="5590" data-src="https://freight.cargo.site/t/original/i/026aaba66060606c1f36706bb7318bfadbbbde5350a6e42bd1fade69ca41ee3a/newwyork.jpg" data-mid="140678249" border="0"  src="https://freight.cargo.site/w/1000/i/026aaba66060606c1f36706bb7318bfadbbbde5350a6e42bd1fade69ca41ee3a/newwyork.jpg" /&#62;
&#60;img width="1500" height="1285" width_o="1500" height_o="1285" data-src="https://freight.cargo.site/t/original/i/ad9267c6fa206f88fce4376ac7451c7147dc422eed7098ff2217e9d5b1d4922a/ABermudez-fotoOM-9.jpg" data-mid="140678272" border="0"  src="https://freight.cargo.site/w/1000/i/ad9267c6fa206f88fce4376ac7451c7147dc422eed7098ff2217e9d5b1d4922a/ABermudez-fotoOM-9.jpg" /&#62;








	

	
	
&#60;img width="5100" height="7019" width_o="5100" height_o="7019" data-src="https://freight.cargo.site/t/original/i/289f84b2c4969e930469d28e4e80fb0bf8501276fdc90d42f8f2affd0340292f/CHIMBO05.jpg" data-mid="140678225" border="0"  src="https://freight.cargo.site/w/1000/i/289f84b2c4969e930469d28e4e80fb0bf8501276fdc90d42f8f2affd0340292f/CHIMBO05.jpg" /&#62;
&#60;img width="3456" height="4608" width_o="3456" height_o="4608" data-src="https://freight.cargo.site/t/original/i/2860f0eaf01a7e75e98c9011f287d23e90623d3d65f5060296543c040f435276/IMG_20190429_190924.jpg" data-mid="140678410" border="0"  src="https://freight.cargo.site/w/1000/i/2860f0eaf01a7e75e98c9011f287d23e90623d3d65f5060296543c040f435276/IMG_20190429_190924.jpg" /&#62;



	

	
	

&#60;img width="2160" height="1442" width_o="2160" height_o="1442" data-src="https://freight.cargo.site/t/original/i/fa0ecad650518023153416259b54f98fd17f864d4c78449ae2bc449619ab8744/DVCDM-10-of-13.jpg" data-mid="140678439" border="0"  src="https://freight.cargo.site/w/1000/i/fa0ecad650518023153416259b54f98fd17f864d4c78449ae2bc449619ab8744/DVCDM-10-of-13.jpg" /&#62;
&#60;img width="5211" height="3484" width_o="5211" height_o="3484" data-src="https://freight.cargo.site/t/original/i/6d81d7db7e975ec8127551e7b9f6ea181ca974967cf0caf2194b5f6ed0fc56ab/CHIMBO054.jpg" data-mid="140678228" border="0"  src="https://freight.cargo.site/w/1000/i/6d81d7db7e975ec8127551e7b9f6ea181ca974967cf0caf2194b5f6ed0fc56ab/CHIMBO054.jpg" /&#62;




	

	
	
&#60;img width="2160" height="1442" width_o="2160" height_o="1442" data-src="https://freight.cargo.site/t/original/i/596803af2a50ae44b7435eb568cd43f148fa04ddd3aa655ead55ee1280a3923c/DVCDM-8-of-13.jpg" data-mid="140678436" border="0"  src="https://freight.cargo.site/w/1000/i/596803af2a50ae44b7435eb568cd43f148fa04ddd3aa655ead55ee1280a3923c/DVCDM-8-of-13.jpg" /&#62;



	

	
	




&#60;img width="750" height="1124" width_o="750" height_o="1124" data-src="https://freight.cargo.site/t/original/i/f7adea6e8790e33e434f006592de4b36c9aaaee75df519f19c6a6a3477603203/ABermudez-fotoOM-6.jpg" data-mid="140678266" border="0"  src="https://freight.cargo.site/w/750/i/f7adea6e8790e33e434f006592de4b36c9aaaee75df519f19c6a6a3477603203/ABermudez-fotoOM-6.jpg" /&#62;
&#60;img width="750" height="1124" width_o="750" height_o="1124" data-src="https://freight.cargo.site/t/original/i/f65abafdc55c32334e4baea41b2879c649613165b4d6d9f359d2a3daf22cf43f/ABermudez-fotoOM-7.jpg" data-mid="140678268" border="0"  src="https://freight.cargo.site/w/750/i/f65abafdc55c32334e4baea41b2879c649613165b4d6d9f359d2a3daf22cf43f/ABermudez-fotoOM-7.jpg" /&#62;


	

	
	
&#60;img width="4016" height="4818" width_o="4016" height_o="4818" data-src="https://freight.cargo.site/t/original/i/a5c784b997cfd50001836a4781b6f02d4c82115b9e515ac87087fb92e756ddcb/DSC_0442.jpg" data-mid="140678232" border="0"  src="https://freight.cargo.site/w/1000/i/a5c784b997cfd50001836a4781b6f02d4c82115b9e515ac87087fb92e756ddcb/DSC_0442.jpg" /&#62;
&#60;img width="4016" height="4396" width_o="4016" height_o="4396" data-src="https://freight.cargo.site/t/original/i/39c4eeb0c12457d21e7341fac41153e716abf84993eeb868a7b3f99516614fb3/DSC_0441.jpg" data-mid="140678231" border="0"  src="https://freight.cargo.site/w/1000/i/39c4eeb0c12457d21e7341fac41153e716abf84993eeb868a7b3f99516614fb3/DSC_0441.jpg" /&#62;


	


	
	&#60;img width="2160" height="1442" width_o="2160" height_o="1442" data-src="https://freight.cargo.site/t/original/i/5ee8150b7348ea8d39fc3f0c4a43f2547d11c7071d1707cf9fa781856089b170/DVCDM-1-of-13.jpg" data-mid="140678429" border="0"  src="https://freight.cargo.site/w/1000/i/5ee8150b7348ea8d39fc3f0c4a43f2547d11c7071d1707cf9fa781856089b170/DVCDM-1-of-13.jpg" /&#62;
	

	
	&#60;img width="640" height="459" width_o="640" height_o="459" data-src="https://freight.cargo.site/t/original/i/fa0ec0e4a63db0dea1c45dc48794e2857eea0cd5ed9149c95c550cccf2b6260a/1_6891388b73b0935b737e9ec907a77640.jpg" data-mid="140678211" border="0"  src="https://freight.cargo.site/w/640/i/fa0ec0e4a63db0dea1c45dc48794e2857eea0cd5ed9149c95c550cccf2b6260a/1_6891388b73b0935b737e9ec907a77640.jpg" /&#62;
	
</description>
		
	</item>
		
		
	<item>
		<title>Theater of Land</title>
				
		<link>https://antoniobermudez.com/Theater-of-Land</link>

		<pubDate>Mon, 25 Apr 2022 20:53:53 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Theater-of-Land</guid>

		<description>Theater of Land

Photography/Video Installation, 2020


	
	
&#60;img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/cb118b37d14183637ec68aa9736eb8b13efea522cef96b6e2d7cf47121968b0f/IMG_20200304_122622.jpg" data-mid="140667869" border="0"  src="https://freight.cargo.site/w/1000/i/cb118b37d14183637ec68aa9736eb8b13efea522cef96b6e2d7cf47121968b0f/IMG_20200304_122622.jpg" /&#62;
Photographic installation &#38;amp; 3 channel video.. Jan Van Eyck Academie,Open Studios, 2020.&#38;nbsp;

	



	






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&#38;nbsp; &#38;nbsp; “Over the centuries, the Qur’anic metaphor of paradise as a garden
has been translated into myriad iterations of a Charbagh, a four-fold
garden with a fountain at its center. The Charbagh is replicated
throughout Islamic gardens, but also in secular and religious gardens
all across Europe. The motif was realized in tapestries as well,
perhaps the most famous of which was the sixth-century Khosrow
Carpet. During the colder months, this 25m x 50m jewel-encrusted
tapestry was unfurled indoors as an interior garden. As such, it
symbolized the king’s power to command the seasons. When the Arabs
captured Ctesiphon in 637, the carpet was cut into fragments and
lost forever. Its design, however, continues to be interpreted and
reflected across landscapes. 


Architect
Antonio Bermúdez perceives the Charbagh as a poignant example of
oscillating representation and reality. Today man’s dread of
feral wilderness is manifested in the ersatz “nature” that
is&#38;nbsp;gardening, intensive agriculture, genetically manipulated
crops, and managed biodiversity. Endeavors to tame or control our
environs have manifested into its wholesale (re)creation. 


 Bermúdez
observes this keenly in Westland, South Holland, called the “city
of glass” due to its rows of horticultural houses. To Bermúdez
this municipality is yet another Charbagh, comprised of endless
hothouses, vivisected by canals and streets. His photographs capture
these glass houses, which border the tightly-clipped lawns of
suburban homes, themselves captors of tropical vegetation. The Dutch
landscape reduced to the king’s Khosrow Carpet. For Bermúdez,
Westland, as for Europe write large, is becoming a succession of
representations, or mere fictions, of nature. It is his reckoning
with a future composed as a series of enclosed gardens.”
Amanda Sarroff, Writer and Curator.


	


	


	
&#60;img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/8510852842b1d90b028b4d8726c7c9671fc468169ba41f090babc69ba91b554f/poster-colores.jpg" data-mid="140668485" border="0"  src="https://freight.cargo.site/w/1000/i/8510852842b1d90b028b4d8726c7c9671fc468169ba41f090babc69ba91b554f/poster-colores.jpg" /&#62;

	



	
	



	


This work analyzes the relation between gardening, territorial planning and intensive agriculture. Groeneweg (Green-way) is a suburban street inhabited by a prosperous middle-class community living on big traditional brick houses;
*In their front-yards: geometric gardens;*


*in their back-yards: enormous industrial greenhouses;*


*inside their bay windows: uncanny colonial dioramas.*




	

	
	

 
&#60;img width="3456" height="4608" width_o="3456" height_o="4608" data-src="https://freight.cargo.site/t/original/i/113551723a3a5ba613451a43d39a7e4e6dd4191db8217ecfd9aa0109a7a6e8af/IMG_20200315_154620.jpg" data-mid="140667910" border="0"  src="https://freight.cargo.site/w/1000/i/113551723a3a5ba613451a43d39a7e4e6dd4191db8217ecfd9aa0109a7a6e8af/IMG_20200315_154620.jpg" /&#62;



	

	
	
&#60;img width="2222" height="2250" width_o="2222" height_o="2250" data-src="https://freight.cargo.site/t/original/i/7d3384f38d314d18ead6760b953379bbc74dadfd3f2ec0d6428b139727d6e537/GW-4-of-7.jpg" data-mid="140668445" border="0"  src="https://freight.cargo.site/w/1000/i/7d3384f38d314d18ead6760b953379bbc74dadfd3f2ec0d6428b139727d6e537/GW-4-of-7.jpg" /&#62;
&#60;img width="2227" height="2244" width_o="2227" height_o="2244" data-src="https://freight.cargo.site/t/original/i/56896e0026ddba01674b67dfccdc5be50e2263d4f3ff1813152f21a2deb50543/GW-2-of-29.jpg" data-mid="140668443" border="0"  src="https://freight.cargo.site/w/1000/i/56896e0026ddba01674b67dfccdc5be50e2263d4f3ff1813152f21a2deb50543/GW-2-of-29.jpg" /&#62;

	

	



	&#60;img width="2229" height="2243" width_o="2229" height_o="2243" data-src="https://freight.cargo.site/t/original/i/7e16a4aea1303cd4df628b7982113138bea82fc2b3c3a77497cbd8ee514215ea/GW-19-of-29.jpg" data-mid="140668432" border="0"  src="https://freight.cargo.site/w/1000/i/7e16a4aea1303cd4df628b7982113138bea82fc2b3c3a77497cbd8ee514215ea/GW-19-of-29.jpg" /&#62;

	

	

	&#60;img width="2246" height="2224" width_o="2246" height_o="2224" data-src="https://freight.cargo.site/t/original/i/c991369d37c5cb9e80399865b680a3e1081448ec2697207662941c19b1ab68b5/GW-24-of-29.jpg" data-mid="140668448" border="0"  src="https://freight.cargo.site/w/1000/i/c991369d37c5cb9e80399865b680a3e1081448ec2697207662941c19b1ab68b5/GW-24-of-29.jpg" /&#62;

	

	
	&#60;img width="2239" height="2233" width_o="2239" height_o="2233" data-src="https://freight.cargo.site/t/original/i/3b4e8f57788144fa0557393f6af7701fcf0221f2d72524553d2a3df7c0e37273/GW-6-of-29.jpg" data-mid="140668447" border="0"  src="https://freight.cargo.site/w/1000/i/3b4e8f57788144fa0557393f6af7701fcf0221f2d72524553d2a3df7c0e37273/GW-6-of-29.jpg" /&#62;


	

	
	&#60;img width="4444" height="6667" width_o="4444" height_o="6667" data-src="https://freight.cargo.site/t/original/i/97ab2a2a1963af78dd5695d540302321bc98bac1aaabf126f33f0f27b72697ab/antonio_bermudez15_1C6A9042.JPG" data-mid="140668200" border="0"  src="https://freight.cargo.site/w/1000/i/97ab2a2a1963af78dd5695d540302321bc98bac1aaabf126f33f0f27b72697ab/antonio_bermudez15_1C6A9042.JPG" /&#62;


	

	
	




	
</description>
		
	</item>
		
		
	<item>
		<title>Return Journey to Honda</title>
				
		<link>https://antoniobermudez.com/Return-Journey-to-Honda</link>

		<pubDate>Mon, 25 Apr 2022 22:30:23 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Return-Journey-to-Honda</guid>

		<description>

Return Journey to Honda 
(Matterhorn sights)Video/Action, 2017


	
	



	

&#60;img width="1676" height="928" width_o="1676" height_o="928" data-src="https://freight.cargo.site/t/original/i/a997ff466fa4fc38a3aa55176489cbfb94d16b614095b7d357dc4edbfa9e21f2/91honda.JPG" data-mid="140676812" border="0"  src="https://freight.cargo.site/w/1000/i/a997ff466fa4fc38a3aa55176489cbfb94d16b614095b7d357dc4edbfa9e21f2/91honda.JPG" /&#62;This work was shown at The Humboldt Forum, Berlin in 2019, at Museo de Arte de a Universidad Nacional, Bogotá in 2019 and in Espacio el Dorado, Bogotá in 2017. Video 55min, Colombia, 2017.












	



	






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&#38;nbsp; &#38;nbsp; "In his work two natural views are juxtaposed: on the one hand one materialized in a logo, and on the other a real and changing one that expands beyond the framing of the camera." 

"In general terms, it can be said that there are two constant landscapes in the video: the one synthesized in the logo, referring to the Alps, and the Andean landscape observed in the truck's route. In this way, Bermudez proposes a strategic perspective by offering a visual narrative that builds a historically and humorously charged discourse."

"(...)first there are the overpowering Andes, conceptually shaped by the nineteenth-century European gaze, and in contrast there is the alpine mountain, white and with a blue background. Here a series of historical links are intertwined that allow us to question the alpine image within the famous logo, and at the same time the role of that image that runs through space, since throughout the video the viewer can only see the back of the vehicle. Therefore, in this case it is not so much the truck that makes the trip, but the logo that moves from the angle proposed by the camera."

"In this way, the video proposes two distant landscapes in the same space allowing a dialogue between the representations, the first created virtually and the second through the material approach."
.
"(...) by recognizing in the Alps the sublime and the timeless that challenges the limits, the logo can be understood as a "unified body" 1 within the frame that contains it. In this way it enunciates a distant reality and embeds it in the Colombian context through a visual synthesis proposed by a mercantile gaze."

"(...) this case, referring to the power relations implicit in Bermúdez's work allows to complexify the journey and the discoveries of the transporting truck through the ironic tone present in the work, evidenced in the everydayness of the situation proposed in the video, without any kind of theatricalization. The synthesized Monte Cervino that travels through the Andes, like the nineteenth-century European explorers, alludes to the political charge of the history of the territory where they are found."
 
Luis Rey Celis, Art Historian



	

	
	


	

	
	






	
	&#38;nbsp; &#38;nbsp; To follow an Alpean mountain while it travels down The Andes.



	

This video is a parallax between nineteenth century travelers’ chronicles and its idealistic drawings and the real geography of the Colombian mountain ranges. The video shows the action of following a truck transporting lactic products from the higher city and capital from Colombia (at 2600 meters above sea level)

 to the first fluvial port of the Magdalena River (
600 meters above sea level)&#38;nbsp;. In the back of the truck we can see a logotype depicting the famous mount Matterhorn in Switzerland.
The Magdalena river connects Honda to Puerto Colombia, and then the Atlantic Sea connects Puerto Colombia to Europe.
The logo printed on the back of the truck, depicts the Matterhorn mountain: emblem of the Alps.
This is a one hour excerpt from a six hours journey.



	




	
	
&#60;img width="1675" height="938" width_o="1675" height_o="938" data-src="https://freight.cargo.site/t/original/i/b3ee4f863bc3152722788c0b21788fed231164d52de4cdbad110e35cf2336f40/5honda.JPG" data-mid="140676807" border="0"  src="https://freight.cargo.site/w/1000/i/b3ee4f863bc3152722788c0b21788fed231164d52de4cdbad110e35cf2336f40/5honda.JPG" /&#62;&#60;img width="1674" height="940" width_o="1674" height_o="940" data-src="https://freight.cargo.site/t/original/i/1985979bc8587dd42719b74883199dee9372c263fb06f5a26a1d7299ccf69d21/97honda.JPG" data-mid="140676818" border="0"  src="https://freight.cargo.site/w/1000/i/1985979bc8587dd42719b74883199dee9372c263fb06f5a26a1d7299ccf69d21/97honda.JPG" /&#62;&#60;img width="1681" height="933" width_o="1681" height_o="933" data-src="https://freight.cargo.site/t/original/i/2af5141cd490c622c54d25a79a2af0d31c8a093746c18d24fc8b8698d6731696/94honda.JPG" data-mid="140676815" border="0"  src="https://freight.cargo.site/w/1000/i/2af5141cd490c622c54d25a79a2af0d31c8a093746c18d24fc8b8698d6731696/94honda.JPG" /&#62;&#60;img width="1674" height="942" width_o="1674" height_o="942" data-src="https://freight.cargo.site/t/original/i/76a950ece0b345a3b75e84b469255cd3053e398588980c2a86748dde0c755df0/95honda.JPG" data-mid="140676816" border="0"  src="https://freight.cargo.site/w/1000/i/76a950ece0b345a3b75e84b469255cd3053e398588980c2a86748dde0c755df0/95honda.JPG" /&#62;&#60;img width="1673" height="936" width_o="1673" height_o="936" data-src="https://freight.cargo.site/t/original/i/1868a9a78cda9e12125101edaaba806527d9342e3c0a94a657ba06e57f35212c/96honda.JPG" data-mid="140676817" border="0"  src="https://freight.cargo.site/w/1000/i/1868a9a78cda9e12125101edaaba806527d9342e3c0a94a657ba06e57f35212c/96honda.JPG" /&#62;&#60;img width="1678" height="942" width_o="1678" height_o="942" data-src="https://freight.cargo.site/t/original/i/f1f41fc23b0c50c8a6bd2db9ecffd160f02f1a6ea024c53993055b73d4bdeaba/3honda.JPG" data-mid="140676805" border="0"  src="https://freight.cargo.site/w/1000/i/f1f41fc23b0c50c8a6bd2db9ecffd160f02f1a6ea024c53993055b73d4bdeaba/3honda.JPG" /&#62;&#60;img width="1674" height="941" width_o="1674" height_o="941" data-src="https://freight.cargo.site/t/original/i/67fbfa7f5df8d8a0fc5ec7f703465051c0b2d10fddb7e93fa9dd3f0512b49e70/4honda.JPG" data-mid="140676806" border="0"  src="https://freight.cargo.site/w/1000/i/67fbfa7f5df8d8a0fc5ec7f703465051c0b2d10fddb7e93fa9dd3f0512b49e70/4honda.JPG" /&#62;
&#60;img width="1675" height="936" width_o="1675" height_o="936" data-src="https://freight.cargo.site/t/original/i/8c215b811ae768dfb9115200197d27283e5c8e6ea62412d495a7fb060bb3bc55/98honda.JPG" data-mid="140676819" border="0"  src="https://freight.cargo.site/w/1000/i/8c215b811ae768dfb9115200197d27283e5c8e6ea62412d495a7fb060bb3bc55/98honda.JPG" /&#62;

	

	
	

	
	
	
	






	

	
	&#60;img width="900" height="600" width_o="900" height_o="600" data-src="https://freight.cargo.site/t/original/i/5211deec52e6b0ee3624f1551017eb426363bb63805db2f8c205be32fe01e706/brblaa1427797-Vol10-11-c.jpg" data-mid="140676821" border="0"  src="https://freight.cargo.site/w/900/i/5211deec52e6b0ee3624f1551017eb426363bb63805db2f8c205be32fe01e706/brblaa1427797-Vol10-11-c.jpg" /&#62;&#60;img width="1600" height="1195" width_o="1600" height_o="1195" data-src="https://freight.cargo.site/t/original/i/71721dd00cc43333919bb7f55f235276c9c3756108999e5f9715def3992a9138/s-l1600.jpg" data-mid="140676823" border="0"  src="https://freight.cargo.site/w/1000/i/71721dd00cc43333919bb7f55f235276c9c3756108999e5f9715def3992a9138/s-l1600.jpg" /&#62;&#60;img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/fb31bbfa2f7ab7d9390ab32c1e25beb909cacb7d57a35d7f6f90550d0e5789da/matterhorn-425134_960_720.jpg" data-mid="140676822" border="0"  src="https://freight.cargo.site/w/960/i/fb31bbfa2f7ab7d9390ab32c1e25beb909cacb7d57a35d7f6f90550d0e5789da/matterhorn-425134_960_720.jpg" /&#62;
	

	
	https://historiadelarte.uniandes.edu.co/clio/septima-edicion/el-viaje-de-los-alpes-enmarcados-en-los-andes-una-mirada-comparativa-de-los-paisajes-en-camino-a-honda-de-antonio-bermudez/
	
</description>
		
	</item>
		
		
	<item>
		<title>Obedience</title>
				
		<link>https://antoniobermudez.com/Obedience-1</link>

		<pubDate>Mon, 25 Apr 2022 19:51:03 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Obedience-1</guid>

		<description>Obedience

Installation/Editorial,&#38;nbsp;2020


	
	&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6cbd7ca493f407207cbe949e457c9c0d72390d2ed1bb7cd0e00fb4245e012dbe/antonio_bermudez01_1C6A7098-copy.jpg" data-mid="140665836" border="0"  src="https://freight.cargo.site/w/1000/i/6cbd7ca493f407207cbe949e457c9c0d72390d2ed1bb7cd0e00fb4245e012dbe/antonio_bermudez01_1C6A7098-copy.jpg" /&#62;

Mural installation composed of 25 riso-printed A2 blocks of paper, 2.5 x 3.2 meters.
 Jan Van Eyck Academie,The Wall at The End of The Rainbow, 2020. Curated by Natasha Marie Llorens.

	



	






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To-scale reproduction of Hans and Paul Vredeman de Vries’s sixteenth-century painting Orpheus Playing for the Animals, which went missing in 1944.


“In English, the painting is known by an alternate title: Orpheus playing the lyre: trees and rocks move, beasts and birds are enchanted, which also accurately describes what is taking place in the image. This enchantment is framed by an architectural folly, under an ornate domed roof upheld by marble pillars that visually overwhelms the birds and the trees of the garden. Bermúdez Obregón’s Obedience reproduces the painting in red monochrome on 25 blocks of riso-printed paper. Visitors were invited to tear sheets of paper off the wall and keep them, to participate in the image’s deconstruction and dissemination.”


Natasha Marie Llorens, Curator.









	

	

	









	

	
	&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ca583ff76ecddf01a88cd156e83f9aedb89984b2da9bb637eb3fdfc8f4be1cab/IMG_20200121_162731-copy.jpg" data-mid="140666652" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/ca583ff76ecddf01a88cd156e83f9aedb89984b2da9bb637eb3fdfc8f4be1cab/IMG_20200121_162731-copy.jpg" /&#62;

	


	
	
	

	
	
“In Obedience there are two grids. One is represented (reproduced from the original painting), and the other is part of the format of my installation. The first symbolizes Orpheus’s music: it is the architecture of the painting, the infrastructure into which all the natural elements are placed. The second, real one is the grid made of blocks of paper that breaks the painting apart.”
“The first sections of paper to be removed corresponded to objects that can be isolated without losing their identity or becoming abstract: the deer, the bird, the elephant, Orpheus; When something can be named and marked off, it becomes available, and can be taken. That’s how we colonize, control, represent, and
 create nature.”





	

	
	
	



	


	
&#60;img width="1500" height="2250" width_o="1500" height_o="2250" data-src="https://freight.cargo.site/t/original/i/fd2abe2bdcaefc10fc06f09e20ac0c5ea7eb7e48e9807f2098adea79b418f8d7/antonio_bermudez03_1C6A7117-copy.jpg" data-mid="140666655" border="0"  src="https://freight.cargo.site/w/1000/i/fd2abe2bdcaefc10fc06f09e20ac0c5ea7eb7e48e9807f2098adea79b418f8d7/antonio_bermudez03_1C6A7117-copy.jpg" /&#62;
&#60;img width="700" height="743" width_o="700" height_o="743" data-src="https://freight.cargo.site/t/original/i/4915dfa34552ad0ccfdd73e8e849c4d38d6794c289e18e421272ac8c7c3fcca4/IMG_0654.jpeg" data-mid="140666742" border="0"  src="https://freight.cargo.site/w/700/i/4915dfa34552ad0ccfdd73e8e849c4d38d6794c289e18e421272ac8c7c3fcca4/IMG_0654.jpeg" /&#62;

&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/709659b502a6f066997f7e7fc8f47c72a5cc314d6e5519c3b9a62f8ce9f0fa43/IMG_20200305_121448-copy.jpg" data-mid="140666771" border="0"  src="https://freight.cargo.site/w/1000/i/709659b502a6f066997f7e7fc8f47c72a5cc314d6e5519c3b9a62f8ce9f0fa43/IMG_20200305_121448-copy.jpg" /&#62;





	

	
	


&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cc61bc5588d419d74cc1644cd3a4f4ab2fca846928013824319a1ca658e513e8/IMG_20200307_131820-copy.jpg" data-mid="140666949" border="0"  src="https://freight.cargo.site/w/1000/i/cc61bc5588d419d74cc1644cd3a4f4ab2fca846928013824319a1ca658e513e8/IMG_20200307_131820-copy.jpg" /&#62;

&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/2d9243cf362f2ac79fe9772da38fb096f98c87dfb53df53ee57ad46aa29f2272/IMG_20200305_110748-copy.jpg" data-mid="140667034" border="0"  src="https://freight.cargo.site/w/1000/i/2d9243cf362f2ac79fe9772da38fb096f98c87dfb53df53ee57ad46aa29f2272/IMG_20200305_110748-copy.jpg" /&#62;



	

	
	
&#60;img width="1500" height="1219" width_o="1500" height_o="1219" data-src="https://freight.cargo.site/t/original/i/3fd0318a505819fb78a383b4909571156440124c37c72204b38a3f82a1e4f80e/Muralimg-22-copy.jpg" data-mid="140667045" border="0"  src="https://freight.cargo.site/w/1000/i/3fd0318a505819fb78a383b4909571156440124c37c72204b38a3f82a1e4f80e/Muralimg-22-copy.jpg" /&#62;
https://www.art-agenda.com/criticism/330153/how-does-your-garden-grow-on-feral-signs-and-displaced-landscapes

	

	
	


	

	
	

	

	
	




	
</description>
		
	</item>
		
		
	<item>
		<title>Alias</title>
				
		<link>https://antoniobermudez.com/Alias-1</link>

		<pubDate>Wed, 11 May 2022 15:21:58 +0000</pubDate>

		<dc:creator>antoniobermudez.com</dc:creator>

		<guid isPermaLink="true">https://antoniobermudez.com/Alias-1</guid>

		<description>AliasEditorial, 2012-2017


	
	&#60;img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/be7faec932a57ac7796ca946baa412b323f0588c543e8aa2c3ff2425415da0e7/11.JPG" data-mid="142315284" border="0"  src="https://freight.cargo.site/w/1000/i/be7faec932a57ac7796ca946baa412b323f0588c543e8aa2c3ff2425415da0e7/11.JPG" /&#62;A book from a collection of criminal names.

This work was done in collaboration with Alberto Miani, El Cajón Edit and Espacio el Dorado.&#38;nbsp; Alias was launched in an exhibition right after Colombia’s peace treaty was signed with FARC. Espacio El Dorado. Bogotá, Colombia, 2017








	



	






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*
	
	



“This book exhibits a vast and picturesque catalog of the criminal aliases that have adorned the history of

the armed conflict in Colombia. It is all the books and none of them at the same time, since its omission of an explanatory discourse supports infinite readings and interpretations. ALIAS is, in the first place, the affirmation that at this point and once and for all it would be convenient to begin to glimpse, the remarkable tragedies and unnamed atrocities of the conflict, a correlate, a subtext and a parallel history of violence that does not take place in the realm of the event, the catastrophe and the official, but in the context of the everyday. In other words, the book postulates the possibility for us to look not only at the atrocious events worthy of press releases, but also at the long catalog of our micro-violences, that is, those imperceptible dynamics of everyday life that the old violence has managed to permeate, inscribing itself in our cultural genetic map as a distinctive feature, a part of our being Colombians, an abstract violence that has come to define us in the most essential way. Notwithstanding the aforementioned exegesis, ALIAS can also be read as an academic document, a crude nomenclature of the conflict, an onomastic ethnography of violence, and a raw body of evidence that demands the granting of meaning by its interpreter. Thirdly, given the conjuncture and the use and abuse of certain categories, the book does not resist being conceived as a contribution to historical memory, since it leaves written forever the names of the perpetrators. The above are, undoubtedly, plausible hermeneutical options. However, it is also possible to assign to the book a fourth, much more modest function. A testimony of the comic dimensions of violence and, therefore, a violent act elevated to its second power, a mockery of the tragedy and, in that sense, a wink with hints of revictimization. Finally, although these uses are strictly reserved for cynics, ALIAS is a coffee table book and also a toilet book, or a pleasant reading for waiting rooms, especially recommended to proctologists and dentists. It should not be forgotten that, after all, among the proliferation of aliases, as jocular as they are infamous, there is nothing but noise with the appearance of meaning, the exhaustive record of a semantic void that could pass for coherent and that almost manages to simulate a message, which it renounces from the beginning.”
 






Samuel Baena, Lawyer and writer.





	

	
	&#60;img width="4016" height="6016" width_o="4016" height_o="6016" data-src="https://freight.cargo.site/t/original/i/ea4eede1da721fa68e08402a1ffa8662ce75f06435a2b96324e9ec480a4a732e/2blanco.jpg" data-mid="142315272" border="0"  src="https://freight.cargo.site/w/1000/i/ea4eede1da721fa68e08402a1ffa8662ce75f06435a2b96324e9ec480a4a732e/2blanco.jpg" /&#62;

	


	
	
	

	


	




Around 800 Colombian newspaper cutouts, shape a five years compilation of “aliases” of the national conflict in Colombia and its criminal organizations. This collection became an editorial work that could be called a piece of&#38;nbsp; hipper-realist design. Both faces of the small pieces of paper are reproduced in their original sizes. One “alias” per sheet, one face per page, 800 pages.






	

	
	
	



	


	
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“To me, the exercise of documenting violence gained significance in the quest of truth and reconciliation.”





	

	
	
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