rita simoni
Residence in Residences
Creation and coordination: Rita Simoni. Buenos Aires, april/October 2020


Shortly after the Covid quarantine began, I realized that it was important to keep in touch with my colleagues, the artist friends. This perception was the kick to propose the "Residence in Residences" experience.

Seven female visual artists come together in a self-management model. Through our works in progress we observe both the visible and hidden aspects of this uncertain dwelling. We think about experiences and poetically transmute them from the individuality of our homes, some of us without access to their own studio and without the available elements.

We have proposed a personal and horizontal work of dialogical curation. Each artist works with his own poetics but we share a network of reciprocal presences.

This particular “time - space” is a parenthesis that summons us and provokes us to transform questions into works in progress, enabling us to take permanent risks and experimentation.
“Residencies in Residencies” is a loving and thoughtful support that drives a strong desire for transformation.

Participating artists: Ariela Naftal, Rut Rubinson, Ileana Hochmann, Carla Beretta, María Emilia Marroquín, Silvia Brewda and Rita Simoni.

RITA SIMONI "Entropy and Resilience”:
Fragments of works found in my studio home, become photo-installations. Mutant constructions from other remains, those of the works themselves.
Footprints and remains. Entropy and resilience.

Residency in Residencies, by Rita Simoni, October 2020
The most structural discovery was the awareness that I was putting together fragments of works and elements, REMAINS, something that is permanent in my work, but in this case it was to open the spectrum, the horizon completely towards the use of EVERYTHING that could serve me to create STORIES on the studio table. Stories that pushed from the questions I ask myself about the situation of global pandemic, world climate crisis, ecological collapse, rampant capitalism. The realities that we put together are beliefs that structure us and produce devastating effects. We are EXCESS, INFLATION. Humanity needs a limit to the maddening and destructive accumulation and expansion. Back when I started with the photos of “Residual Spaces”, this perception of the collapse of this human system was already present; it was Post-Liquid, to quote Bauman.
Poetics and Politics. Resilience and Resistance.
Also readings, such as Aby Warburg from Didi Huberman's book, NACHLEBEN: the survival of images.
The unconscious, the dreams, always push to emerge in my life, and I let them flow.

“The unconscious is made up of linguistic remains, of hidden memories, of traces. In this sense, it resembles a universe in ruins; and the social edifice, like our personality, is founded on this rubble. " From the book "The Ex Form" by Nicholas Bourriard.

PROCEDURES: Installation - photo - painting: integration.
It is not new but reworked. One more turn of the spiral.
A new acquisition: working on the studio table, putting everything together there, in the different constellations, is a systematization of chaos. An act of salvation. It is playing and putting into play.

"The law of becoming, manifesting itself through deceptive repetition, sets up the poor shed of the stable in the very center of the whirlwind."
Juan José Saer, in La Grande.

WHAT SURVIVES. Chaos - order
ENTROPY and RESILIENCE.
I do not forget that they are opposites; always present as an OSTINATE, like "DI and NONE", my invisible friends from very early childhood.
TO GATHER through visual STORIES FRAGMENTS, REMAINS.
Gather the dissolved, RESCUE vestiges of other times, which coexist here and now.
CONDENSED TIMES IN SPACE.
They are CONSTELLATIONS.
TOGETHER-us to be stronger WOMEN.
INTEGRATE the times in a space, the table. Resignify.
Bring the OUTSIDE to the INSIDE. BE at home, in my place of working.

Assemble installations on the expanded table, and photograph its multiple scenes and points of view. Print the photos on different supports and INTERVENE them with paint and even digitally. The CAVERNS appear, as a sign of the time, being locked up, although I have to go out to work every day. In each installation story there is a dominant COLOR. Color structures each stage montage and gives meaning to a particular world, while connecting with the pure present.