Eulàlia Valldosera

Fundació Antoni Tàpies

Art is a play of light and shadows from whose tangle arise precarious human relations—or so Eulàlia Valldosera seems to be telling us. With the exception of the photographs, installation, and performance that make up El ombligo del mundo (The world’s navel), 1990–2001, which chronicles the artist’s efforts to give up smoking, her production is an immersion in the universe of illusions, transparencies, reverberations, and reflections.

Valldosera’s first photographs were of mattresses covered by wrinkled sheets—traces of the body—or of fragments of her own naked body (“Burns,” 1990–92). The body gradually acquired greater prominence, and in the action Bandages, 1992, Valldosera pushed dong two rails a hospital bed supporting a 16 mm film projector that ran a film of her own body slowly being traversed by the camera as she lay in the bed. The projected movement and the real one

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