CA Tarragona<\/a> la seva millor exposici\u00f3, fins al moment. El gran espai portuari cedeix la seva arquitectura a cinc projectes que l’artista ha realitzat en els \u00faltims deu anys i gaireb\u00e9 in\u00e8dits per al p\u00fablic. Treballs pol\u00edtics, per\u00f2 mai pamfletaris, projectes de relaci\u00f3 i intercanvi amb personatges reals que expliquen la seva hist\u00f2ria a trav\u00e9s de diversos formats visuals i materials. S\u00f3n vides a les dreceres de la quotidianitat, totes elles \u00faniques i vulnerables, per\u00f2 amb un objectiu compartit: resistir a l\u2019aband\u00f3; la viol\u00e8ncia; l’oblit; l’exclusi\u00f3; la deportaci\u00f3; la solitud o la ignom\u00ednia. Els personatges de les hist\u00f2ries s\u00f3n \u00e9ssers amb biografies de gran significaci\u00f3 existencial i pol\u00edtica, que comparteixen amb l’artista i amb el p\u00fablic els seus desitjos i valentia.<\/p>\nLes obres d’aquesta exposici\u00f3 es plantegen en mitjans i materials habituals en el treball de Mireia Sallar\u00e8s: registres audiovisuals; objectes; edicions en paper; \u00e0udio; fotografia; intervenci\u00f3 en l’espai i textos. Per\u00f2 hi ha un fil conductor que connecta els cinc relats: s\u00f3n experi\u00e8ncies de vida bel\u00b7ligerant davant els conflictes de la marginaci\u00f3 i la viol\u00e8ncia, que posen en q\u00fcesti\u00f3 la veritat o el poder. Zah\u00efa \u00e9s una dona algeriana que cada nit aparca el seu cami\u00f3 de menjars al centre de Valence, estrangera en una zona afectada per la gentrificaci\u00f3 que amena\u00e7a el seu \u00fanic mitj\u00e0 de subsist\u00e8ncia. El v\u00eddeo i la instal\u00b7laci\u00f3 ‘Le camion de Zah\u00efa, conversations apr\u00e8s le paradis perdu’ \u00e9s un testimoni de les xerrades nocturnes entre la propiet\u00e0ria, els clients i l’artista, un col\u00b7lectiu condemnat a desapar\u00e8ixer davant del consumisme reglat i les ordenances municipals. Una noia basca, Zaloa, a ‘El meu visat de model II’, es veu obligada a simular una professi\u00f3 per obtenir el visat de treball a Nova York. L’artista l’ajuda a registrar un v\u00eddeo de presentaci\u00f3 com a model. Intercanvi i complicitat per obrar espais de resist\u00e8ncia des de la condici\u00f3 d’estrangeria que tamb\u00e9 marca a l’artista.<\/p>\n
El projecte d’estructura m\u00e9s complexa \u00e9s ‘Las Muertes chiquitas’, realitzat a M\u00e8xic. El t\u00edtol \u00e9s una expressi\u00f3 popular per referir-se a l\u2019orgasme, i el cos o la sexualitat actua en tot el projecte com un camp de batalla on reconquerir la llibertat i la dignitat. Cada particular viv\u00e8ncia de les dones entrevistades en el llargmetratge \u2018Las Muertes chiquitas\u2019 \u00e9s inoblidable. Durant cinc hores, dones de tots els estrats socials i culturals parlen de la seva intimitat, desitjos, pors i lluites. Les veus d’aquestes protagonistes teixeixen una cr\u00edtica vera\u00e7 sobre el context hist\u00f2ric i social al qual pertanyen. Les sessions que s’han presentat al MACBA han desbordat audi\u00e8ncia i expectatives, tot un fenomen d’audi\u00e8ncia.<\/p>\n
La ciutat i les seves comunitats espec\u00edfiques tamb\u00e9 protagonitzen ‘Se escap\u00f3 desnuda, un proyecto sobre la verdad’, fet a Caracas i que regala un magn\u00edfic arxiu \u00e0udio de reflexions sobre un concepte tan esquiu com la noci\u00f3 de veritat i el seu efecte en el comportament de les idees i accions humanes. Sens dubte un gran treball de profunditat relacional \u00e9s el projecte ‘Las 7 cabronas del barrio de Tepito’, una de les zones m\u00e9s perilloses de la ciutat de M\u00e8xic, on les dones, les cabrones, dirimeixen la realitat del dia a dia confrontant-se al sistema patriarcal , la viol\u00e8ncia i les injust\u00edcies. A elles est\u00e0 dedicat el pedestal per a un monument sense figura que s’instal\u00b7la al barri i que genera el t\u00edtol global de l’exposici\u00f3 ‘Monuments’. S\u00f3n hist\u00f2ries a contracorrent, vides rebels alienes a l’autocompassi\u00f3 que l’artista posa en escena sense enjudiciar, amb tota la pot\u00e8ncia de ser vides viscudes i no exercicis conceptuals.<\/p>\n
L’exposici\u00f3 es construeix com un \u00fanic relat entre diverses hist\u00f2ries i les taules de documentaci\u00f3 fan de connectors. Una presentaci\u00f3 que permet el di\u00e0leg m\u00e9s por\u00f3s amb el p\u00fablic. Imprescindible con\u00e8ixer aquests treballs de Mireia Sallar\u00e8s i poder tamb\u00e9 imaginar noves formes de realitat. Aquella realitat que, recordant les paraules de la poetessa Wislawa Szymborska que cita l’artista<\/a>, sempre es defineix a si mateixa i per aix\u00f2 \u00e9s m\u00e9s gran el seu misteri.<\/p>\n","protected":false},"excerpt":{"rendered":"Parla amb passi\u00f3 i gesticula amb les mans. Mireia Sallar\u00e8s \u00e9s una gran narradora d’hist\u00f2ries i prefereix la primera persona. Porta molts anys indagant en els registres de vides viscudes,…<\/p>\n","protected":false},"author":1263,"featured_media":7821,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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