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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 was in a way similar to the game we all play when we have a map of the world at hand and we spin it, to point a random spot in it with our finger and then imagine a trip to that (known or unknown) place.
The same day of the action, the sanitary siege of the city began. Many public events, concerts, cinema and other shows were cancelled. We were “brave” to continue in spite of the recommendations to drop everything and leave. As the hours passed by, the sound of the cars around us went from intense to non-existent, the sky darkened, rain started falling and a strong wind blew.
Given the strange context, all this seemed like a sign to continue or to otherwise, abandon. Nonetheless, minutes before starting the last trip to the tower, the rain stopped falling and the wind stopped blowing. With a few people as an audience and a spotlight, the rocket began its slow journey, accompanied by the music that emanated from the interior of the tower. Barely moving, this paper arrow disappeared in the shadow that was drawn by the tower. More than agony, that action represented hope, everything that happened around it transformed that simple and extravagant action into a path of thought through the rocky terrain and the evidently absurd reality of the context.
To come to the end of the piece, we had to believe in the disappearing of the ship, in its return or its take-off at the inside of a lit white space. This space was still filled with music and with the image of a miniature tree, that was connected by one of its branches with a red thread to a miniature replica of the suspended ship in a corner, firmly held by the action of a magnetic force field.
We could imagine that a process that was apparently so connected to that specific context, couldn’t be duplicated. One of the characteristics of Pedro’s actions would be this refusal to repeat. Nonetheless, as we begin again the game with the spinning map of the world, we come up in a new process, in a different place but with a similar principle to Campo de Fuerzas. The physical tension of the elements and the symbolic tension of the displays can be reconstructed. The principle of nostalgia and ruin is a motor that is reloaded when relocated, it generates things all over again, with the simple rules that apply when someone stands in front of a random wall in a new city and questions him/herself about the history of it. The piece feeds itself from this constant interrogation, from the traveling of the artist, his doubts and the same road proposing solutions. The questions exposed by such a piece bring hope because in the end, the reflection implies a recognition of oneself in the other. As persons and as artists, by producing an art that belongs to its immediate space and time, we become reviewers of a world that forgets easily. We, the few witness of Campo de Fuerzas, were able to sense for some minutes that the end of the world could simply imply a new beginning.
Luis A. Orozco
México City, october of 2009.
Translated from Spanish by: Natalia Valencia


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