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Pedro Gómez-Egaña
"Field and Force," 2009

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With "Field and Force," Pedro Gómez-Egaña expands upon the intervention of rediscovering lost monuments that he realized in Mexico City this year. Here, Gómez-Egaña turns to the space of exhibition, pointing to its decay while simultaneously creating new proportions and landscapes within the room itself. In his economic treatment of images, Gómez-Egaña’s interest is in elaborating upon an extant image rather than fabricating a new one. The hovering rocket in the artist’s installation calls upon the pop culture references of this icon, commenting on both the temporal and archetypical nature of the images that are engraved in our collective imaginary.

Campo de Fuerzas (Field of Forces) by Pedro Gómez-Egaña was produced in that context, at the Torre de los vientos (Tower of the Winds), a functional sculpture by the Uruguayan artist Gonzalo Fonseca, part of the Ruta de la Amistad (route of friendship), in the southern part of México City. This space is used for interventions, which are generally one-day events, due in part to the limited access to the place. The sculpture is placed on a triangular terrain on the side of the most important highway of the city. Pedro’s work was part of a series of interventions that were programmed on the occasion of the 40th anniversary of the route. It was with this principle that Pedro began the process that would lead to the realisation of the Campo de Fuerzas performance.
The preparations for the performance developed through long-distance communications, and Pedro did not even know the space or had even the city before.
One of the things that interested me the most was the way in which he composed the work, in the broadest sense of the word, bringing the elements that he uses as a composer to a sculptural ground. It is important to note that Pedro combines his music and visual art experience since his beginnings as a visual artist.
As an artist and a curator I consider that the piece was structured from all the elements that made it possible, from the initial communications, the trips around the city looking for materials and the fact that the Tower of the Winds was always the axis.
Pedro composed a piece that turned the tower into a target, hit in its centre by a rocket that was to slowly disappear in its interior. Curiously, the tower could formally be what Pedro laid out in his piece and then become the destiny of an inoffensive bullet that seemed to calm down the big city, sick of fear and paranoia.
The series of associations that can me made around the piece is very curious, I am convinced that a live action like Campo de Fuerzas, as I mentioned before, integrates in its structure everything that surrounds it, in the real time of its execution as in its context, which for Pedro and myself, was and still is, determinant.
I cannot help associating the surrounding landscape of the tower: a ground of endemic vegetation that grows on volcanic rock, the result of a series of eruptions of the Xitle. And a significant fact that occurred 40 years ago: the landing of a man on the Moon. The tower of the winds seemed in this context like a primitive observatory, amidst a Moon landscape, similar to the images that were working material for many artists such as Smithson, Long or Heizer, who, decades before, proposed connections between controlled accidents and neolithic monuments.

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