Zilberman Miami is pleased to present Third Crescent, the first solo show of Colombian artist Pedro Gómez-Egaña in the United States.
Third Crescent showcases installations that take inspiration on the life of Cuban poet and writer Dulce María Loynaz (La Habana 1902-1997). Loynaz’s life story, particularly her voluntary seclusion following the Cuban Revolution of 1959 despite her literary acclaim, serves as a narrative influence for Pedro Gómez-Egaña.
Awarded prestigious honors such as the National Literature Prize in 1987 and the Miguel de Cervantes Prize in 1992, Loynaz’s life in her El Vedado mansion from 1947 to 1997 epitomized profound solitude. She spent nearly forty years in relative isolation, deliberately withdrawing from literary engagements and creation. This period of “interior exile”, as it has been called, underscores Gómez-Egaña’s exploration of the domestic space as a site where political and social complications emerge with particular charge.
Gómez-Egaña’s artistic inquiry delves into the concept of the interface as a liminal space where dichotomies blur. Traditionally, an interface is a point where two realities meet, a term that speaks to the contours of interaction, a porous membrane between insides and outsides, integrity and vulnerability, technology and faith. It’s a space for decoding and engagement. The notion of interface also presents a certain kind of eroticism, as an occasion for integrities to dissolve.
Within this conceptual framework, the interface transcends its physical boundaries; it transforms into a metaphorical threshold inviting viewers to contemplate the intersections of identity, intimacy, and societal constructs
“Es triste confesarlo, pero me siento ya su prisionera, extranjera en mi propio reino, desposeída de los bienes que siempre fueron míos. No hay para mí camino que no tropiece con sus muros; no hay cielo que sus muros no recorten.
Haciendo de él botín de guerra, las nuevas estructuras se han repartido mi paisaje: del sol apenas me dejaron una ración minúscula, y desde que llegara la primera puso en fuga la orquesta de los pájaros.”
“…It’s sad to confess it, but I already feel like its prisoner, a stranger in my own kingdom, dispossessed of the goods that were always mine.
There is no road for me that does not run into its walls; there is no sky that its walls do not cut through.
Making it the spoils of war, the new structures have rationed my landscape: of the sun they have left me only a minuscule portion, and since the first arrival an orchestra of birds set on flight.”
—Fragment from Dulce Maria Loynaz, “ Los últimos días de una casa” (The Last Days of a House), English version translated by the artist.
Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
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