{"id":6903,"date":"2015-10-14T12:41:41","date_gmt":"2015-10-14T10:41:41","guid":{"rendered":"https:\/\/poblenouurbandistrict.com\/new\/es\/?p=6903"},"modified":"2015-10-26T13:27:40","modified_gmt":"2015-10-26T11:27:40","slug":"the-remaining-stains-of-summer-a-addicted-to-life","status":"publish","type":"post","link":"https:\/\/poblenouurbandistrict.com\/en\/the-remaining-stains-of-summer-a-addicted-to-life\/","title":{"rendered":"“The remaining Stains of Summer” at Addicted to Life"},"content":{"rendered":"

 <\/p>\n

\"last_stains_of_summer_Giacomo_Tonoli_Photographer\"
\u00a9 Giacomo Tonoli<\/figcaption><\/figure>\n

 <\/p>\n

“Mediatized: state to formulate and perceive reality from logical generated in the media telling viewers specific hypotheses. The format of the mediation can be from TV shows, news and other formats to build discourse context”<\/p><\/blockquote>\n

“Mundo Consumo” Z. Bauman. Paid\u00f3s 2009.<\/strong><\/i><\/p>\n

E. Goraieb<\/strong> (Beirut 1960) fulfills a clear goal through his artistic work: it seeks to de-virtualize the phenomenon of meanings from information contemplation as a form of analysis. And the task is not easy…<\/p>\n

The artist, noted for his westernized environment, from a critical perspective, the ways in which capitalism and neo-liberal system, to de-naturalize contemporary societies from the same axis: the dissemination of information “selected” as the sole source of namely information. This doctrine regularized internationally (through the phenomenon of “globalization”, which seems to have gone out of fashion, and who was given visibility from 4 lying in a square), it has been implemented since our existence in the form of news consumption, skills that have nothing to do with the experience and practice of being in the world (this phenomenon anticipated by Heidegger) from devices as the sole source of learning to existence.<\/p>\n

This unique channel logic (I have to stay connected 24 hours a day), which has become everyday life, is the Goraieb<\/strong> criticism and questions through their practice. His work thus addresses, in a protest not only artistic or creative work through language, but in a practical and personnel to opt out of a world that demands a constant stream compulsory labor, survival to the brutality of the wealthy representing the triumph, economics, social work or symbol as fictional form of victory. This last idea come together involves the concept of “collective unconscious”, which seems a lot of people proud to work doing more work for social welfare, working towards a fictitious top of well-being. Eric<\/strong> calls aloud a model of consciousness, relationships, ways of seeing and ways of feeling, and that attitude is more than currently needed, where ideas are confused, glorify idols just because being, be handsome, posing a human being closest to a brutal animal than a human person.<\/p>\n

 <\/p>\n

\"Foto
\u00a9 Giacomo Tonoli<\/figcaption><\/figure>\n

 <\/p>\n

However, the exercise performed Goraieb<\/strong> to find the connection between her being and naturalization around the same as the origin of human existence, is often frustrated in a futile attempt to talk about a need that every human being demands: think of itself to the world in the ways of living and thinking, in the community or in society as social welfare, since it seems that the power that information to the day we spend an average of 14 hours per day, It is legitimized in society through layers of meaning that take over the audience and end up acting in a de-humanized form, provided integrated into a common group, in order to be accepted, without knowing why. Only to arrive at a hypothetical being based on the image and economic capital as synonymous victory.<\/p>\n

However, Goraieb<\/strong>, defines his job very well from their practice.<\/p>\n

“It’s not make art for art, we must seek new languages that combine to present”<\/p><\/blockquote>\n

Eric<\/strong>, this way, talks about ethics and personal practice around a highly critical situation, and who decides to take from the fight and suffering involving his pictorial action, so that viewers understand their artistic act as a vindication the most primary human: vitality, strength, stroke or direct expression of feeling. An exercise that allows us to communicate with primal being, contemplation watching from the environment, as noted in his latest work, Lillies<\/em>, Morning shower<\/em>\u00a0or Rainy day in Shanghai<\/em>\u00a0(2015), where the artist He realises his appreciation for the personal stories and the context and the same scenario.<\/p>\n

His work also is emerging from the field of art as a form of protest it. Jobs that are not composed from the more traditional canvas or from the Arte Povera as a language: the language of art itself is the way in which the artist has to show its struggle to the world and himself. For the same reason, the works are framed as a complete work: work sets support both the content and the frame changes from a mere support for the expression to become the expression itself.<\/p>\n

Talk, observe, meditate, relate and become aware. Tough task to perform if we want to grow personally as mediated subjects.<\/p>\n

Daniel Gasol <\/strong>from\u00a0Office36<\/strong>, was responsible for artistic management of the exhibition Remaining stains of summer<\/em>\u00a0and is the author of the previous text.<\/p>\n

Addicted to Life<\/strong> is an experimental and creative platform that produces and co-produces events and projects with a common denominator: a positive, collaborative and artistic vision. The venue, an old restored warehouse\u00a0in the Poblenou neighbourhood\u00a0of Barcelona, hosts exhibitions, gastronomic events, music performances, film projections, literary presentations and pop up shops and galleries where you can buy miscellaneous\u00a0items and second-hand clothes. With The Remaining Stains of Summer<\/em>\u00a0Addicted to Life<\/strong>\u00a0inaugurates its activity as an art gallery.<\/p>\n

\n

Addicted to Life<\/h3>\n

Carrer de Pujades 156 Bis<\/h3>\n

(+34) 684 337 263<\/h3>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

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