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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.

The 60s were, among other things, a decade when the modern men made amends with the “primitive” men, through anthropology and art. The concept of “progress” went on to be part of a cyclic scheme, represented by many artists who worked with landscape. They went from minimal modifications done on video and photography up to undertaking of big ephemeral projects. These pretended to represent little analysed prehistorical monuments, which, for that same condition, had kept up to that moment, a significant charge of mystery, capitalised by these artists as an added value to their own works.
We live, nowadays, in a different stage of the cycle, where we again value the remains and documents of a recent past, where nostalgia and ruins become the new monuments. Time goes by faster and the revisionist urge doesn’t go too far in the timeline. Our end of the world connects with an immediately previous one, a big part of the current art production is still somehow affected by a global consciousness that awoke with the bombs of 45 in Japan, memories now sold as souvenirs, like the Berlin wall fragments at their moment. Stones now speak a different language, the mystery of the primitive monoliths is being substituted by disaster simulations, by debris.
Having recuperated the immediate context as well as the possible historical records of the space, I will now centre in what Campo de Fuerzas was for myself and in Pedro’s process in México, in general.

Time is, undoubtedly, the most important element in Pedro’s work, real and linear time; the immediate context of the action and the place opened a very interesting dialogue.
During the stage of long-distance communication, I received a series of drawings that illustrated very clearly the development of the action and the elements involved in it: a paper rocket, a tree and a thread. The play of the elements and its dimensions reminded me of children’s tales, as these are always structured in a very clear, schematic, illustrative and attractive way, easily memorable.
That was the initial approach and that is how the action unfolded. Somehow the idea of Pedro’s own trip, the way in which that rocket would arrive to its final destination, the backing soundtrack (Liszt’s Vía Crusis, played backwards) and the transformation of the elements, (produced by its dimension and perception of them) also implied relating the macro and the micro.
We assumed that the world is small, because we had gotten there from different places, because our plans were becoming real and because the rocket was there, 100 meters away from the tower, laid on the terrain where it would be dragged by a red thread, which, because of the time when the action happened, would be invisible. The disappearance of the motor that moved the rocket (Pedro himself) and the thread, gave the piece a life of its own, so it would move, slowly and distressingly, towards the tower, its final destination and place of transformation.

Venues Credits