Proyecto Border

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Hacina* project has been recorded on first order ambisonix

Please use headphones to have an inmersive experience


Three bodies in the same space, a home that becomes a living, latent and mutant organism.
Three bodies forced to rethink themselves within this organism in symbiosis with all that inhabits and composes it.
Three bodies that seek the necessary strategies to live together skilfully, reconfiguring the inhabited territory and being reconfigured by it. Overcrowding seen from its sense of agglomeration, seeking to order chaos, like the harvest arranged side by side. Contact practices to return to the public space, having learned other ways of being together.

*feminine name Set of harvest bundles placed one on top of the other forming a pile,

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Border’s laboratory and works are understood as thinking machines self-referential, critical and procedural manifestos about the reality of art, of the artist, of his modes of production and the culture industry. Border proposes to inhabit the liminal borders among the arts to blur them hybridize them cross them over to question them. Border positions itself on the liminal borders between The aesthetic and the discursive the self-referential and the critical the scientific and the artistic practice the scriptural and the performative the representational and the experiential humour and disrespect the irony and the radical honesty provocation and entertainment the nominal and the cliché political correctness and irreverence the process, the affections and the chaos the art and the human life and the living Border is a living project our life project
Juanqui Arévalo
Dramaturgist and Danzarín*. My work oscillates, dialogues and operates between the scriptural and the performative, the saying and the doing, the words written and spoken and the bodies in action; and how these resonate in the event. I understand my artistic practice as a practice of causal, fluid, circumstantial and inevitably self-referential. The process, the encounter with the other; the possible dialogues in the encounter of the bodies and the chance that it brings with it are my matter to work. I am co-founder and part of Proyecto Border Laboratorio de investigación para la escena, manager of IMMATERIAL Residence for the Living Arts. Director and teacher of CUERPOANIMAL, space for training in contemporary dance.
*danzarín, ina (adj.) 1. m. and f. dancer, person who dances with skill. / 2. Person with poor judgment. Who meddles, gives opinions without sufficient context, or judges without solid bases.
Elena Filomeno
I am a dancer, choreographer and teacher of contemporary dance. My movement research part of a constant kinetic search for the bodies around me. I’m interested in the liminal space in which dance, performance, and theater are and how this place confronts me with the possibility of finding bodies diverse and movements that follow the disobedience of an impulse. Co-founder of Proyecto Border where I currently work as a choreographer, researcher and playwright, I am the manager of INMATERIAL Residence for the Living Arts, Director and teacher of CUERPOANIMAL, space for training in contemporary dance.


Paulina Oña
I am the fifth of seven children, born in Bolivia after the migration that my parents with my older siblings from Buenos Aires-Argentina, it began the dictatorship processes in South America. I have a profession that I never got to practice (I am a lawyer), but which enabled me to study la maestría interdisciplinar en Teatro y Artes Vivas of the Universidad Nacional de Colombia these last 2 years: I decided to migrate, because I needed a new and unknown place to continue thinking about my practice and because he wanted to study. I am an interdisciplinary artist, I am a seamstress and I am a witch. I am a nomad and I am a woman. My artistic practice oscillates between the fiction of words and the generation of images and sensations, between the real and the virtual, between theatricality and performativity.
Host organism

Organismo Hospedador Espaciario

About Casa Tomada´s creation laboratory

«The forces that animate reality, when absorbed into the body as sensations, they end up pressing him to incorporate them and exteriorize them. The creation is that impulse that responds to the need to invent a form of expression for what the body hears from the matter of the world as force field. The forms thus created -whether verbal, gestural, plastic, musical or any other – are therefore secretions of the vibrating body. More precisely, they are secretions of their micro-perceptions. They interfere with the environment insofar as they make possible the emergence of then unsuspected. It is in those circumstances, that such forms are made»events», in the sense that Gilles Deleuze and Felix Guattari give this concept. […] Therefore, an event is a change of landscape, creation cultural»
Suely Rolnik


We have been living in this organism since March 21, 2020. The also, of various ways, it inhabits us. This mutant organism hosts us on account of having to modify it every time we can. Our affections, that is, the forces of otherness that coincide with our bodies, they mobilize us to kick us from time to time the board where we perform this particular time of confinement, listening to our intuition. A vital practice within life itself.
The laboratory that hosted our reflections for HACINA, audiovisual piece proposed in this platform, took place in this organism called house, called home, bunker, island, small bubble, which witnesses our deepest temporary paradoxes during this time of health emergency.
We call this laboratory CASA TOMADA, because we took the space to establish in it, our questions about the intimate and the private, about of relationships, nature, the micro-political, our own practices of creation of thought, being attentive to the discourses that are produced in this time, as we are aware of the importance of these narratives for construction of the world to come.
HACINA hosts an audiovisual editing process, which clicks on us with its images and sounds, trying to get closer to the sensations that our bodies perceived in their different layers of subjectivity and physicality during this endless pandemic loop, like a Moebius tape. A Moebius tape conjured up this process as an opening gesture. A group exercise proposed on March 21.
5 months later we see how our unconscious germinate their poetics, as they accommodate the crowded materials during this time, giving an almost impossible order to the chaos: one on top of the other, one next to the other.
A kamikaze assembly waiting for the next kick to the board, so that we do not feel comfortable. To take care of our unproductiveness, to let talk our confined desire.
first and foremost
act of indoctrination


Paulina Oña


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