DISRUPTION II

Disruption reflects on those characteristics of the contemporary era, which would reach their maximum exponent from March 2020, with the crisis generated by COVID19. In this way, it speaks of the loneliness experienced in the quarantine months, of how isolation hinders interaction with the environment, despite having it in front of him, generating a disruption between the environment and the subject. In this sense, the environment is not simply a setting in which the subjects develop, but in many aspects the environment participates in the construction of the identity of its subjects. Clothing, as well as other aesthetic factors, would reflect in a certain way this interaction between medium and subject that results in the conformation of different identities, for that reason, nudity would draw that lack of participation of the environment in the life of the subject. But isolation has not only meant a disruption with respect to the physical environment, sociability has also been affected by quarantines and safety distance, both at a micro level, with the people who make up our daily social network, and in a sense macro, referring to the power elites that pull the strings. The ways of exercising have been, throughout history, as diverse as they are constant, from the imperial trajectories to the power repertoires of the current nation-states, different rulers have sought and executed multiple maneuvers that allowed them to exercise control over the ruled masses. Thus, following the idea of the shock doctrine of Naomi Klein, we can find how moments of crisis, such as the one we are currently experiencing, have been used in favor of these forms of execution of power and control mechanisms, taking advantage of the strong impact that these they would suppose in the psychology of the society to force the approval of measures that, in other contexts, would be unpopular. The states of alarm, applied in extreme and prolonged ways, have meant that decision-making remains in the hands of a very small part of the population. If, for 50 years, the forms of government have been moving further and further away from the democratic spirit of the mid- twentieth century, in this last year the few crumbs of what would be a real democracy have ended up being exhausted. In this context, economic absolutism has found its place for a last push, stronger and with worse consequences. The hyper-reality of which Baudrillard spoke has become more evident than ever, the mass media have substituted face-to-face conversation for a long period of time, favoring the abstract of communicative dynamics to rise to its maximum exponent, feeding the illusion that technology could be a safeguard for real sociability and feeding the simulation of the contemporary world in which the priority would be the representation and not the represented. In Baudrillard’s hyperreal world, these repertoires of power would include the creation of the abstract models to which practical reality adapts, in the same way that for Carrier and Miller’s virtualism, the elites who exercise control order social reality starting from theoretical ideas, this would cause a weariness, a disruption between the level of the high elites that configure the norms of our social life and those who move on the experimental level and assume the consequences.

Limited edition dibond prints for collectors and galleries. Produced on dibond, an aluminum composite consisting of two thin sheets of aluminum enclosing a polyethylene core on frame. All limited edition prints are signed and numbered by hand by the artist. Each piece of artwork is accompanied by a Certificate of Authenticity. Dimensions represent full dibond size. The artist reserves the right to produce up to two Artist Proofs for each artwork in addition to the edition sizes listed. Tax is included in product prices. Free shipping worldwide.

Prepare Cleaning Solution: Mix a small amount of mild soap with water to create a soapy solution. Alternatively, you can use a mild cleaning solution designed for delicate surfaces like metallic prints. Dampen Microfiber Cloth: Take a clean microfiber cloth and either dip it into the prepared soapy water or spray the mild cleaning solution directly onto the cloth. Ensure that the cloth is damp but not soaking wet. Gently Remove Dirt and Fingerprints: Place the dampened microfiber cloth on the metallic print, starting from the center of the print and working your way outwards. Apply gentle pressure as you move the cloth in a circular motion. Check for Stubborn Stains: If you encounter any stubborn stains or fingerprints, you may need to repeat the cleaning process or use a different cleaning solution specifically designed for removing tough stains from delicate surfaces. Dry the Print: After cleaning, let the metallic print air dry or use a separate dry microfiber cloth to gently pat it dry. Avoid using regular paper towels or rough materials that could scratch the surface. Inspect for Residue: Before displaying the cleaned metallic print, inspect it closely to ensure there are no streaks or residue left behind. By following these step-by-step instructions, you can effectively clean your metallic prints, maintaining their vibrant appearance and ensuring they remain free from dust and fingerprints. Things To Avoid While Cleaning Your Print Now that you know what to do – let’s review some things to never do when cleaning your dibond print: Never use harsh cleaners: Avoid ammonia or alcohol-based cleaners, as these can damage the surface of your prints. Avoid excessive pressure: Be careful not to apply too much pressure to prevent any potential damage to the metallic surface or the printed image. Never pick at stains: Never try to scratch off a stain or stuck-on material, always gently wash it away instead.

A pair of white cotton gloves and a personalized postcard. The artwork is shipped flat, well protected with bubble wrap.