Artists in residence

Rebecca (IT/CH/DE, 1999*) is an eclectic artist, composer, improviser trained as a clarinetist ans passionate about movement.
Her artistic practice centers on experimental music, transdisciplinary creation, and improvisation in its many forms. With a focus on alternative formats, she develops immersive productions that explore experimental sound across disciplines and contexts — driven by a deep commitment to collaborative creation and socially engaged practice.
In 2021, she founded the company IPSO as a utopian laboratory for experimentation, horizontality, and radical listening across disciplines.

Sol Miraglia is a photographer and filmmaker based in Buenos Aires, Argentina, represented by HACHE Gallery.

Working in photographic and filmic supports, Miraglia explores the emotional and epistemological tensions between individuals and their creative production and archives. She reinterprets them from a contemporary perspective and brings them into conversation with global movements, political histories and forgotten local figures.

From an early age, Miraglia developed an interest in human stories and the preservation of memory through images. Her projects are often focused on the work of older artists whose work has fallen into disuse or disgrace and on spaces that have been stuck in time, either for the sake of preservation or due to oblivion.

The narratives Miraglia develops take the form of films, exhibitions and/or publications. Her renowned project Foto Estudio Luisita emerged first as an archival preservation project, was transformed into a film Foto Estudio Luisita (2018) and finally into the exhibition Temporada Fulgor, at the Museo de Arte Latinoamericano de Buenos Aires (2021), whose catalog was selected at Les Rencontres d’Arles 2022 in the category historical photography book.

Faced with these swirling universes punctuated by embryonic figures, still lurking in the shadows of possibility, we experience the slight vertigo that arises when confronted with the immensity that is opening up: nothing, as yet, is set in stone.

The compositions are multi-polar, and their elements are yet to be born. Rather than a cosmos of finite forms, it is an energetic field in permanent reconfiguration. In this respect, the aesthetic experience is doubled by an anthropological dimension: it is also a way of relating to reality, of abandoning oneself to it rather than trying to decode it.

On the surface of Lux Miranda’s carpets, something happens to the visible, although its nature is still uncertain; something whispers to the senses, while being careful not to allow itself to be named, grasped or reified.

Ingrid Luquet Gad