Pedro Gómez-Egaña

The Believers (2019)

Pedro Gómez-Egaña, The Believers (2019), installation view, photo: steirischer herbst / kunst-dokumentation.com, courtesy of the artist

Pedro Gómez-Egaña, The Believers (2019), installation view, photo: steirischer herbst / Mathias Völzke, courtesy of the artist

Pedro Gómez-Egaña, The Believers (2019), installation view, photo: steirischer herbst / kunst-dokumentation.com, courtesy of the artist

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The dining area of Villa Perpetuum Mobile is taken up by Pedro Gómez-Egaña’s installation, mounted here as part of Stefan Marinov’s fictitious home. The work’s title comes from the name of a Californian literary magazine, popular with the so-called creative class. The table doubles as a place for work and entertainment, as often happens with young professionals of a digital age whose beginnings Marinov saw and whose earliest start-up gurus might have courted him on visits to America.

Pedro Gómez-Egaña (1976, Bucaramanga, Colombia) is an artist who produces immersive spaces that seek to modulate audiences’ perception. His works problematize cultural definitions of time and temporality against the backdrop of a world dominated by saturation and speed, exploring how time is experienced due to our interaction with media culture. They have recently been shown at Staatliche Kunsthalle Baden-Baden; Munch Museum, Oslo; Oslo Opera House; Yarat Contemporary Art Space, Baku; Istanbul Biennial; Contour Biennial, Mechelen; Performa, New York; Kochi-Muziris Biennial; and Marrakech Biennial, among others. He lives in Oslo.

Courtesy of Zilberman Gallery

Installation

Villa Perpetuum Mobile
Group exhibition

Technical assistance: Bart Callebaut

Courtesy of Zilberman Gallery

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