|Kochi: The Colombian-born installation artist Pedro Gómez-Egaña presented historical and cultural junctures between technology and temporality and his understanding through ‘ephemeral sculptures’ – structures that are both movement- and time-based, using motion and its derivatives as gauges and mediums for time and technology.
“My impulse is to utilise motion as a way of framing temporality. I make objects that are transformed through motion, sculptures that move and I stage them in very specific ways,” said Gómez-Egaña, who is among the ‘First 25’ artists selected to participate in the third edition of the Kochi-Muziris Biennale (KMB).
He was speaking at an ‘Art Talk’ hosted by the Kochi Biennale Foundation in Ernakulam today. Titled ‘The Chariot of George’, the evening discussion offered insights into his artistic process and a preview of things to come at KMB 2016, which runs from December 12 to March 29 next year.
Gómez-Egaña noted the value in viewing historical innovations as models for the present, with invisible digital technologies supplanting vehicles as drivers of progress, leading to a “technometric definition” of time.
The uncanny nature of this transition, he contended, hits at the heart of the technology-time paradox with fast-loading Internet feeds, tweets, likes, shares and even pop-ups becoming socially acceptable benchmarks for time and duration, while slow-moving temporalities such as climate change become harder to grasp.
To address this, the artist said, “I devise immersive experiences where
the audience escapes a world saturated with the temporality of
catastrophe and enters a purpose-built space: Performative situations
where objects and stories speak of the relations between society and