Castillo Saladrigues, Mireia

Mireia c. Saladrigues (1978) is an artist and researcher, or rather, an artist-researcher. Her projects build on extensive inquiries while the particular research methodologies are based on her artistic practice. She defends that the artistic research is fundamentally different from the traditional academic research, since the first is interrelated with the creative processes and the particular languages of art, incorporating aspects that cannot be directly addressed from formal knowledge or written language. Saladrigues is a candidate of the International Doctorate (DFA) of the Academy of Fine Arts of the University of the Arts Helsinki. Behaving Unconventionally in Gallery Settings documents cases of (human and non-human) alteration in cultural practices, proposing an artistic and theoretical re-reading of inconformity. In 2021-2022 Saladrigues was at the Royal Academy of Spain in Rome to produce Crederrei, se fussi di sasso. On this, Rai Radio 3 launched recently the audio-documentary La Martellata. The Kunsthistorisches Institut in Florenz – Max-Planck-Institut hosted Saladrigues for the lecture performance Into Sugar We Could Have Turned that before was jointly programmed by MNAC - National Museum of Art of Catalonia and Picasso Museum of Barcelona. Other European and international venues have shown her outputs, notably including the 2nd Research Pavilion on the occasion of the 57th Venice Biennale, Kiasma -programmed by Pixelache and Capsula-, and Pori Art Museum. Her artworks are part of the collections of National Fund of Catalonia, MACBA and ICUB, as well as private collectors. Galeria àngels barcelona collaborates with Saladrigues on punctual occasions. TEACHING Mireia c. Saladrigues’ most recent experience is: Manifestations ofArtistic Research.MA course of Artistic Research. Finnish Academy of Fine Arts. Helsinki in 2020. Other participation in seminars about Artistic Research have followed afterrds. Saladrigues can offer specialised knowledge / teaching related to the following areas: 1) Institutional Critique, Iconoclasm, Art Robbery, Art Guarding, general theory about Inscription of Culture and Responses to Art. Also about audience, publics (of art) and participatory art. 2) Digital engagements with art. In relation to projects like Virtual Tour and Invisible Forces she has approached and analysed the development of virtual environments and; mostly from practice. As an example, during 2019-2020 and along with KuvA Art and Tech, they developed an exhibition in virtual reality at the 3D model of the Mylly building during 2019-2020. 3) Printed matters and contemporary artists’ books. Publishing has been a practice that she has developed since 2008, understanding the artists’ book as portable and affordable artworks, which have another tempo than this of the exhibition. She has collaborated with publishing initiatives as, for example, L’Automàtica, an association specialised in letterpress and other old printing methods. Her interest for printed matters has also taken her to work as a bookseller in La Central (BCN), in charge of the sections of Contemporary Art, Critical Theory. There she could develop the initiative of establishing the first section of artists’ books in Barcelona. After this, she got involved in the beginnings of Múltiplos, the library specialised in books printed by artists that ever existed in the city. 4) Saladrigues can teach about Artistic Research, its different manifestations, and how specific methodologies play a role in its varied developments. I already held the MA course Manifestations of Artistic Research during Spring 2020, which focused on how AR happens instead of what it is theoretically speaking. That course was great fun to work on and, in relation to students’ feedback, it ended up being a support for the progress of their works.