Secret Society of the City of Ladies
(SSCDD)
Ockham's fake razor. Fake knife and box, size: 20cmx17cm. Coco Moya. (2017).
The word has not been recognized as a virus because it has reached a state of symbiosis stable with receiver.
W. Burroughs. The electronic revolution
The Société Secrète de la Cité des Dames is one of the central components of many of my works. The SSCDD is a secret society that has kept women hidden throughout the history of art. The research tried to recover the lost history of my female references, in an exercise of Intimate Revolt, that is, recreating history to multiply the stories of what happens.
The intimate revolt is the practical philosophy of a poetic terrorism that settles in contradiction, and questions history with counter-memory strategies that we understand as Fake.
The Fake strategy – the false that masquerades as true – hijacks the effect of the real temporarily and opens us up to the potential of a utopia or a dystopia. It opens us to the possible for a brief moment only until the moment of its unveiling, and with it its extermination. Its triumph, therefore, is to end up being discovered, since the objective of staging Fake as a revolt is not to establish itself as a new order, but to open that fragile interval that prints a critical, self-aware gaze. Reviewing and disassembling our simulations-truth, and the mechanisms of reality production.
From the perspective of the Fake, the culture in revolt is a radical culture of simulation and camouflage. It disfigures what we consider real and what we understand as History, disguising itself with its own appearance, under its same apparent normality, formalism and decency. Like a Trojan horse.
Charcoal on paper. Size: 1,20x2m. Coco Moya. (2015)
* This research has been possible thanks to the support of scholarships and awards, such as the Collaboration Scholarship of the Vice Dean of Culture of the Faculty of Fine Arts UCM (2014-2016), Gender and Figure (2015), Program Without Credits (2016), a residence a Casa de Velázquez. (2017) and the Circuits award (2017).
Everything that is possible to happen will happen.
Leibniz's Anti-Ockham's Razor
Ready Fake was an exhibition as an enigma. The interior of a room was considered, where objects belonging to a character from the SSCDD were found. Some clues pointed to Duchamp, although in reality it was Elsa Von-Freytag, the true author of the famous urinal. We reconstructed her room creating an environment of the 1915 era, accumulating objects, clothes, photographs, the white noise of a radio, or a half-finished game of chess, where one of the opponents was about to turn his pawn into a Queen by get to the other side of the board. The space also served as a context for us to plan a workshop, where we could talk about the life of this artist, performer and poet, with the help of Gloria G. Durán, an expert on the subject. Finally, we edited the wikipedia with the information that was missing from your entry.