Pedro Gómez-Egaña’s video works and installations engage discourses around historical and contemporary technologies in relation to chronopolitics as well as the politics behind the history of inventions. Gómez-Egaña looks into several questions on who claims the honor of a discovery and why and the effect of the exercise of power. Time is a vigorous element of Gómez-Egaña’s work, an interest reflecting to now from his past as a composer. Time-fetishist(!)—as the artist calls himself mockingly at a lecture—Gómez-Egaña believes that temporality is an important and useful way of exploring the world culturally, socially and politically.

Pedro Gómez-Egaña (1976, Colombia) lives and works in Bergen (Norway), and Copenhagen (Denmark). He studied music composition, performance, and visual arts at Goldsmiths College, Bergen National Academy of Arts, and completed his doctoral project with the Norwegian Research Fellowship Programme. Gómez-Egaña’s works have been presented at 15th Istanbul Biennial (Istanbul, Turkey, 2017), Contour Biennial (Mechelen, Belgium, 2017), Museo de Arte Moderno (Medellin, Colombia, 2017), Kochi-Muziris Biennial (Kochi, India, 2016), Mana Contemporary (New Jersey, U.S.A., 2015), Colomboscope Biennial (Colombo, Sri Lanka, 2015), Performa 13 (New York, U.S.A., 2013), Kunsthall Mulhouse (Mulhouse, France, 2013), Marrakech Biennial (Marrakech, Morocco, 2009), and Brussels Biennial (Brussels, Belgium, 2008). His recent solo shows took place at Entrée Bergen (Bergen, Norway, 2017), Hordaland Art Centre (Bergen, Norway, 2015), and Casas Riegner Bogotá (Bogotá, Colombia, 2013).