Radicalmente emancipado(s) con subtítulos

Entering fully into the analysis of the institution as a space of social production, and motivated by what Foucault theorised as societies of control and the way they are reflected in the artistic framework, Mireia c. Saladrigues recently focused on the social fixation of the roles of the public, and on the surveillance systems of art centres and museums.

This gave way to “Radically Emancipated” (2011), a documentary work in progress, the initial results of which became the basis for her intervention in “Cardinal Audiences” in the form of video capsules, objects and documents. Somewhere between the prohibited and the sublime, Saladrigues looks at the experience of thefts of fragments of artworks that have been carried out in Barcelona by perpetrators who see their actions as exercises in profound and respectful communion with the work. In this vision of the desire to transcend the ephemeral experience of contemplation – through appropriation – Mireia touches on fetishist materialisation and possible impertinence in the face of security codes and regulations, but also comments on the poetry and politicisation required by the inner time of use of the artwork, beyond throwaway consumption and its domains of safeguarding.

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