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Pep Vidal

 (Rubí, 1980)

With a degree in mathematics and a PhD in physical sciences, scientific thought constitutes a vital experience that articulates his artistic practice. Infinitesimal changes, an obsession with measuring and an acceptance of the impossibility of exactitude in the measurement are the axes that articulate his artistic and scientific investigations.

In order to complete his doctoral thesis, entitled ‘Development of Numerical Algorithms for the Calculation of the Topography of the Mirrors for a Synchrotron’ (2014), Vidal installed himself in a hut he built himself outside the Hangar centre for visual arts production, where he was on an artist’s residence. It is no accident that the resulting publication of the thesis won a Miquel Casablancas prize that same year. A year later, in the context of the collective exhibition Hablo sabiendo que no se trata de eso [I Speak Knowing That It Isn’t about That], curated by Juan Canela at CaixaForum, Pep Vidal established himself inside Joseph Beuys’s installation Pain Space to revise the thesis and add notes of a more personal nature.

The infinitesimal changes which are constantly taking place and have a virtually infinite chaotic chain have been the driving force of many of Vidal’s art projects, as in the case of { } (La Capella, 2013), in which the desire to create a space in which nothing happens led him to construct, with the help of the ALBA synchrotron, a small empty space which he then covered with different materials to insulate it against changes in temperature, electromagnetic fields, fire, cosmic dust and so on, duly obtaining a cube with sides of 83 cm and a weight of around 850 kilograms.

Montse Badia


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