Mireia c. Saladrigues:
Into Sugar We Could Have Turned

What does a martellata to a Michelangelo’s sculpture tell us about our relationships to the masterpiece (and to art)? What sources of information apart from archives and individuals does an act of iconoclasm set free? How did scientific restorers extract data from David’s fragments? How to embrace the materiality of the (marble) dust? Does it become a testimony of the attack? In a performative conference, Mireia c. Saladrigues activates documents, narrations and other materials, navigating between police and scientific archives, speculative fiction, autobiography and geology. Such materials fed the project Crederrei, se fussi di sasso -developed at the Reale Academia di Spagna a Roma- and will be part of the book Martellata by Mousse Publishing.

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. Her career is widely recognized. The most recent scholarships are from the Suomen Kulttuurirahasto (2022), Taike (2021) and Ciutat de Barcelona Prize Fellowships (2021). She was a grantee at the Real Academia de EspaEspanyaa in Rome (2021-2022). Saladrigues has exhibited in Europe, the United States, and Asia, including the Second Research Pavilion on the occasion of the 57th Biennial Venice. From the conferences and symposia in which has organised or participated, she underlines A Case of Iconoclasm on the Tip of David’s Toe and The Very First Sensorium, which proposes another conference format. Her artworks are part of the collections of Fons Nacional de Catalunya, MACBA and ICUB, as well as private collectors.