Eulàlia Valldosera to the Gran Teatre del Liceu

«Light reveals what is kept hidden, giving voice and shape to shadows, our denied or forgotten parts.» This premise seems to guide the work of Eulàlia Valldosera (Vilafranca del Penedès, 1963), a pioneering artist in a multidisciplinary way of working. Her practice oscillates between installation, performance, and moving image, offering immersive experiences that challenge our perception by revealing the interconnection between the body, its memory, and its projection onto everyday spaces and objects.

Her work revolves around the luminous phenomenon understood in all its extent, making use of media technologies as well as psychic or spiritual ones. She creates devices that transform domestic spaces into psychological stages, giving life to what seems inert, opening doors to what we consider real and transcendent through projections or reflections that speak to us about the fears and internal quests we keep in our unconscious, confronting us with collective psychic shadows from a critical personal-political attitude regarding issues of gender, commodification, and exhibition context.

She became known in numerous international biennials during the 90s as an unknown in our country. The impact of the retrospective exhibitions dedicated to her by the Fundació Tàpies (Barcelona) and Witte de With (Rotterdam) in 2000-2001 earned her the National Prize for Plastic Arts. A decade later, at the retrospective held at the Museo Reina Sofia (2009), she presented an innovative sound project, her interactive bottles, digitally intervened cleaning product containers that emitted voices and offered to erase those events that one does not want to remember, not without first uttering them and recording them inside, thus initiating her participative works.

She conceives art as an act of channeling, where the individual becomes a mediator of a greater consciousness. In projects like The other invisibles (Thyssen Museum in Madrid and Picasso Museum in Barcelona), the artist reveals the latent memory of cultural products through interaction with the viewer. With a trajectory that has crossed borders, her mystic activism invites us to reconsider reality as a mutable fabric, where the visible and the invisible intertwine in an infinite dance of light and shadow.

In her occupation of the Saló dels Miralls, Valldosera takes the essence of Janáček's The Cunning Little Vixen to speak of an autonomous Nature that recycles ad infinitum, where the circularity of energy goes beyond humanity's efforts to control the cycles of life. Her work is an invitation to perceive reality as a mutable fabric, where each element contains the memory of all that has been experienced.

Light not only illuminates but also reveals, in her words- "the presence of what has been silenced but not forgotten."