Born in Barcelona in 1973, Mireia Sallarès could be defined as a foreign artist. The reason is not so much that she has carried out projects in France, Mexico, the U.S.A, Venezuela and Serbia as that the existential condition of foreignness, which makes one feel strange in one’s own land, in one’s own body or in one’s own thoughts, plays a key role in her work, as does the interview format she uses to immerse herself in the life stories of the people she meets.
Mireia Sallarès has said that ‘UNESCO should declare what everyone has done with what life has given them or taken from them the heritage of humanity’. She emphasizes the particularities that make each individual unique, exceptional and irreplaceable. If, as Maurice Halbwachs argues, historical memory and collective memory only retain similarities, the artist is an advocate, like Danilo Kiš in The Encyclopaedia of the Dead, for the patrimonializing of dissimilarity. She constructs collective monuments that incorporate a plurality of voices and experiences with which calls into crisis the mechanisms that sustain a simplistic and monosemous dominant discourse on such complex issues such as love, sex, truth, legality, violence and death.
Cèlia del Diego