"For her first exhibition in France, Mireia c. Saladrigues (born in 1978, lives in Barcelone) invites us to interact with the exhibition space. Her proposal explores the art space or the museum as “a stage manager, neither actor nor audience, but an intermediary who sets the scene, brings the spectators to a state of reception, permitting them to become actors in their own artistic selves1.”"
In Horizontal Orientation, plastic bubble wrap, which is typically used when transporting artworks, covers the floor of the main exhibition space. One could imagine that the gallery was undergoing renovation, or that the oor was being protected before being covered with a di erent material, the same way archaeological artefacts remain buried for a period of time.
Returning to the subject of walking (this minimal physical gesture needed to visit an exhibition),
Mireia c. Saladrigues subtly guides us toward a physical recognition of the place, where our condition as spectators makes us involuntary performers, or sound-makers.
This turn could potentially be read as a participatory accent or a willingness to incorporate the visitors into the exhibition, but actually puts pressure on conventional relationships between artistic production and consumption, between artistic perception and experience.
A new production, the film A Specific Representation, is another invitation to think about the dichotomy between what is biological and what is learned, between the natural and the representation. Dancers recall the body’s memory, while reenacting the same learned gestures and routines. This physical exercise highlights how learned rituals determine our movements in art spaces.
1- Carol Duncan, Civilizing Rituals. Inside Public Art Museums, Routledge, 1995.
in partnership with àngels barcelona gallery