DESCRIPTION

David Bermant’s forward looking vision of the importance of the art of our time incorporating the science of our time is a driving force of our creative practice and research at the AlloSphere Facility and the AlloSphere instrument. We are at the intersection of the arts, science, technology, engineering, and mathematics, and strive to create exciting new areas of artistic creation, scientific discovery, and a new form of education. This intersection has given us the potential to have a crucial dialogue about the most important issues that we need to engage and to understand for the future growth of our world community. The Bermant Foundation’s generous gift will facilitate the AlloSphere to conduct our research, creative practice, and education within the university, and bring this information out to the community by opening our doors to the public, presenting forward looking installations from our team as well as guest visiting artists.

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DESCRIPTION

Located in MOXI’s Light Track, the Drip Chamber utilizes light and water to create a playful and immersive experience for visitors. In the glass chamber, liquid drips into a reservoir creating small ripples. The ripples are projected onto the floor, displaying mesmerizing patterns of light and color.

DESCRIPTION

Cicadas are the loudest insects in the world. In New Zealand, the most common species is the chorus cicada (Amphipsalta zelandica), renowned for its rhythmic and persistent sound that heralds the end of summer. Known in Māori as kihikihi wawā, kihikihi is an onomatopoeic term mimicking the cicada’s sound, while wawā means ‘to make a loud indistinct noise, roar, rumble’.

The Kihikihi project draws inspiration from the chorus cicada’s unique appearance, sound, and behavior. However, in many ways, it addresses the interrelationship of insects, plants, and humans in general – the shared ecosystem we all need for survival.

In the Kihikihi installation, the audience can activate ‘electronic insects’ by placing them on ‘electronic trees’. The audience is invited to explore the sonic, tactile and visual relationships through play: they can pick up insects, place them on the sculptural plants, explore successful placements, and once contact is made, the insect starts glowing and chirping. Each insect has a unique rhythm. The insects form an insect orchestra, their voices blending and interweaving into a polyrhythmic sound cloud.

The trees express themselves sonically as well, and contact with insects influences their sound in a subtle way. Emitting a gentle wind-like sound, the tree sculptures provide an airy layer to the beats of the insects. When an insect connects with a tree, the tree’s sound slightly softens, signifying the nuanced impact of interspecies connections.

While playful, Kihikihi invites reflection on insect decline and its broader implications. With robotic pollinators already in development, what are we losing – culturally and emotionally – if natural insects disappear? Who will sing for us in summer?

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Video

Te Aka Māori-English, English-Māori Dictionary, s.v. “kihikihi,” accessed October 25, 2024, www.maoridictionary.co.nz

DESCRIPTION

Egaña draws on practices of composition and choreography to create dynamic constellations of objects and events in time.
In Virgo (2022), which will anchor Gómez – Egaña’s List Center show, 28 modular walls bisect set like reproductions of generic domestic
spaces, some of which repeat throughout the large-scale installation, teasing viewers with mise-en-abyme viewpoints.A path for visitors cuts through the work’s recursive architecture on a diagonal.

Gallery attendants wearing designated attire serve as“orchestrators”who“activate”the work by pushing and pulling metal frames—and attached furniture—through precise gaps in the walls.Theirchoreographyadds toanuncannyencounterthatprobesthe affective qualities of objects and spaces.In Adjacent Gallery, which will be richly saturated with red carpet and wall color,Gómez-Egaña presentsThe Great Learning (2015), atemporal sculpture in which a copper rod begins in a vertical position and, over the course of 15 minutes, is slowly lowered to the ground by counterweights hung by microfilament. Else where in the space, pendulums knock on walls, powered by hidden electromagnetic triggers. A new sculpture,created for the exhibition,uses a bellows system to create a drone-like sound, which is activated periodically by performers in the show

Across These diverse works,Gómez-Egaña orchestrates arenas of motion and observation that seek to modulate audiences’ perception. Drawing on features of both architecture and dramaturgy, helayers moments of intimacy and alienation to expose the porous and unstable conditions of contemporary life-and,in his words,“a world dominated by saturation and speed.

”The Great Learning Will be The artist’s first US solo museum exhibition and is organized by Natalie Bell,Curator, MITListVisualArts Center.

SELECTED PRESS AND VIDEOS INTERVIEWS
www.pedrogomezegana.net/pressinterviews

ADDITIONAL DOCUMENTATION
www.pedrogomezegana.net/virgo
www.pedrogomezegana.net/the-great-learning

Pedro Gómez-Egaña: The Great Learning Hayden and Reference Galleries