The event is free and open for all but requires sign up. The conversation will be held in Spanish and translated into English 

In their conversation about the new installation Profundis, Delcy Morelos and Pedro Gómez-Egaña delve into the layered meanings within Morelos’s work as well as her practice more broadly.

Profundis incorporates soil from the Glomma River mixed with cinnamon and cloves, materials that evoke histories of colonial trade and exploitation, referencing the seventeenth-century Dutch timber and spice trades that linked Norway with Indonesia and Sri Lanka. This historical network connects Norway’s natural resources to global commerce, highlighting both the earth’s role as a life source and a resource subject to extraction. Cinnamon and cloves have long been appreciated for their medicinal properties, so while Profundis subtly recalls these difficult histories, it also suggests the possibility for healing.

Born in 1967 in Tierralta in the region of Córdoba in Colombia, Delcy Morelos studied at the Cartagena School of Fine Arts. She lives and works in Bogotá. Past solo exhibitions include Profundis, CAAC Centro Andallluz de Arte Contemporáneo, Seville, Spain (2024); Interwoven, Pulitzer Arts Foundation, St. Louis, MO (2024); El Abrazo, Dia Chelsea, New York (2023); El lugar del alma, Museo Moderno, Buenos Aires, Argentina; Enie, Fundación NC-Arte, Bogotá (2018); Inner Earth, Röda Sten Konsthall, Göteborg, Sweden (2018); La sombra Terrestre [The Shadow of the Earth], Fundación Fuga, Bogotá (2015); La doble negación [The Double Negation], Galería Alonso Garces, Bogotá (2008); Barranquilla Museum of Modern Art (2006); Gt Gallery, Flax Arts Studios Residence Program, Belfast, Northern Ireland (2006); Academia Superior de Artes de Bogota, Santa Fe Gallery, Bogota (2004); and Color que soy, Museo de Arte de la Universidad Nacional de Colombia (2002).  

Pedro Gómez-Egaña was born in Colombia and lives and works in Oslo, Norway. He studied music composition, performance, and visual arts at Goldsmiths College, the Bergen National Academy of the Arts. He finished his PhD in visual arts at the University of Bergen in 2012. He is currently a professor of sculpture and installation at the Oslo National Academy of the Arts. 

Gómez-Egaña’s work addresses a concern with economies of attention by producing purpose-built, often large-scale immersive spaces that seek to modulate audiences’ perception. The relation between site and viewer is central to his work, making storytelling, music, the appropriation of historical and literary texts, and site-specificity some of his frequent strategies. 

Gómez-Egaña stages objects and images in motion as an investigation of, and reaction to, a world dominated by saturation and speed. His works problematise cultural definitions of time and temporality and explore the current and historical effects of technology. His recent work investigates the domestic space, the intersection of the industrial and the mystical, as well as the sexual and spiritual undertones of digital culture. 

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