In Trisc, Serbia, I did an artist residency, I worked on a series of site-specific interventions, called  Infinity Nets, where I studied the origins of language and the different parameters of specialization and categorization that are established through it. Trisc was the birthplace of Vuk Stefanovi Karad, one of the leading European philologists of his time, who reformed the Serbian literary language and standardized the Serbian Cyrillic alphabet. Embracing the particularity of this fact, in my interventions I arranged cranberries in lines, envisioning the idea of a line as a dot in movement, representing the dots that form lines and the lines that form letters and numbers in alphabets. The act of ordering and sorting out these fruits was a metaphor of how different disciplines such as art and science use symbols to understand the universe.

Available from the artist

About Rita Kamacho:

Through performance based projects I explore the uncertainty of language manifested through symbols that belong to different cultural systems. I am interested on examining how social, political and economic operations as well as global and local scales generate the multiple ways of reading them.  I look to question their origin, substance and context and underscore its malleable and mutable nature by re-creating and subverting their general structure.

I as well, investigate symbols by doing projects that link ideas and methods of different fields that do not appear to have any connections. My role as an interpreter between one area and another is to generate dialogue between the distinct social spheres of art, science, and ritual, looking for a hybrid conceptual result. With open-ended methods of collaboration and interplay, I create situations that incorporate a grassroots relationship with the audience to question about the paradoxes of our society, associated with ideas of borders and boundaries between disciplines, places, and spaces.