Tower of Confusion
Tower of Confusion
Installation in the window of a shop in Coghlan, Buenos Aires.
Modular installation adaptable to different spaces. Composed of wood fiber prisms, coated with cement, paint and glazed ceramic pieces.
A modular and asymmetrical structure rises, creating an overflowing volume.
Covered in deformed ceramic tiles—marked by fingerprints, folded and transformed into three-dimensional pieces—the surface of the work acquires a tactile and organic dimension. Glazes in metallic black, ruby, and turquoise tones intermingle, generating pictorial situations that oscillate between brilliance and opacity. The cement that binds the fragments overflows and becomes another material, merging with spills of paint. Ceramic waves glide along edges and corners, accentuating the presence of the volumetric form. Form and color are inextricably intertwined.
Through its morphology and surface, the work presents itself as a Tower of Babel in a state of deconstruction, spilling onto a soft sea where dark, shimmering objects float. “Babel”—a name whose root means “tower of confusion”—refers to the Babylonian myth of a structure erected after the flood, destined to reach the heavens. Interrupted by divine command, the tower was swallowed by the earth, and its people lost the unity of language.
This installation takes this ancient narrative as a starting point for a contemporary critique: geometric rationality is invaded by the organic, by the excesses of matter, questioning the structures of current thought in a present marked by the climate crisis.
In an era of global upheaval—where extreme weather events coexist with denialist and arrogant human responses—Tower of Confusion stands as a poetic question in the face of the imminent and the unknown.
Rita Simoni – June 2025
Madagascar Bordados - Shop window in Coghlan, Buenos Aires.
Installation in the window of a shop in Coghlan, Buenos Aires.
Modular installation adaptable to different spaces. Composed of wood fiber prisms, coated with cement, paint and glazed ceramic pieces.
A modular and asymmetrical structure rises, creating an overflowing volume.
Covered in deformed ceramic tiles—marked by fingerprints, folded and transformed into three-dimensional pieces—the surface of the work acquires a tactile and organic dimension. Glazes in metallic black, ruby, and turquoise tones intermingle, generating pictorial situations that oscillate between brilliance and opacity. The cement that binds the fragments overflows and becomes another material, merging with spills of paint. Ceramic waves glide along edges and corners, accentuating the presence of the volumetric form. Form and color are inextricably intertwined.
Through its morphology and surface, the work presents itself as a Tower of Babel in a state of deconstruction, spilling onto a soft sea where dark, shimmering objects float. “Babel”—a name whose root means “tower of confusion”—refers to the Babylonian myth of a structure erected after the flood, destined to reach the heavens. Interrupted by divine command, the tower was swallowed by the earth, and its people lost the unity of language.
This installation takes this ancient narrative as a starting point for a contemporary critique: geometric rationality is invaded by the organic, by the excesses of matter, questioning the structures of current thought in a present marked by the climate crisis.
In an era of global upheaval—where extreme weather events coexist with denialist and arrogant human responses—Tower of Confusion stands as a poetic question in the face of the imminent and the unknown.
Rita Simoni – June 2025
Madagascar Bordados - Shop window in Coghlan, Buenos Aires.