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by Irune Serna
    sound shop  
               
 
 
  visionary art  
         
         
  la culpa 01/10   la culpa 02/10  
  La culpa 1/10, 2019.   La culpa 2/10, 2019.  
         
         
  la culpa 03/10   la culpa 04/10  
  La culpa 3/10, 2019.   La culpa 4/10, 2019.  
         
         
  la culpa 05/10   la culpa 06/10  
  La culpa 5/10, 2019.   La culpa 6/10, 2019.  
         
         
  la culpa 07/10   la culpa 08/10  
  La culpa 7/10, 2019.   La culpa 8/10, 2019.  
         
         
  la culpa 09/10   la culpa 10/10  
  La culpa 9/10, 2019.   La culpa 10/10, 2019.  
         
         
     
 

The Guilt project is made up of ten color digital photographs. The series as a whole offers different stages of the feeling of guilt in relation to a woman's body, Western beauty canons, the body-food connection and the adaptive disorder that this feeling can cause, as well as its relationship with self-esteem and proprioception. The topic is especially relevant to me given my interest in issues related to identity, gender, gender inequalities in patriarchal society, and mythology. The work proposes a reflection on the burden of guilt that women carry culturally given the treatment that their gender receives within patriarchal society, as well as on the physical canons of Western society and self-acceptance or not, both of their own body and of sociocultural guidelines.

The concept of guilt in our culture has a very important religious background. We can understand religion as a cultural system that brings together experiences, meanings, beliefs and expressions of a group through which its members organize their relationship with the transcendent. Over time and in different places in the world, societies have organized their relationship with the transcendent in various ways and current Western societies have deep Judeo-Christian roots, so many of these religious concepts (Judaic and Christian), given the organization political and social of the West throughout history, have become part of our cultural heritage and we consider them common within our civilization, although they have a purely religious origin.

Power groups, throughout history, have always used the social control mechanisms available at all times, and religion has been one of them, hence religion and politics in many cases have had a relationship important symbiotic. At present, the power groups establish the mechanisms of social control corresponding to the times in which we live and since the Industrial Revolution, the large industrial corporations have had a great weight in the future of societies. These corporations, in many cases multinationals, hold in their hands significant amounts of power in the states and establish the control and management mechanisms that they consider to be most in line with their interests.

In the case at hand, that of Western society, these large multinationals not only manage some sectors of the goods and services industry, but, in many cases, their companies cover very diverse areas of production and the media. , in order to have a greater weight in society. In this way, and as has been the case in the West throughout history, the distribution of power in society has a pyramidal shape that divides society into rulers at the top and governed at the base. This government does not refer to the political sphere exclusively, but to the social system as a whole built for this scheme to continue. The philosopher Noam Chomsky, in this sense, affirms that, at least eighty percent of the population must be taught to follow orders and not think (Chomsky, N. Manufacturing consent, 2015 min. 2:12) and they are the large media corporations that establish the general framework of local media more or less adapted to their structure. These corporations select the topics, emphasize what they consider, filter information, set the limits of how far something is counted, etc. They determine, select, shape, control and restrict to serve the dominant elites (Chomsky, N. Manufacturing consent, 2015 min. 3:00 to 3:54).

In this social context in which the Judeo-Christian roots and their concepts about good, evil, gender, sin, etc., sit at the base of our society, where the power elites decide what they show us, how And why, we find ourselves with people whose own identity is often unknown to them. In times when the educational, political, economic system, etc., feeds the aforementioned pyramid of power, the person as an individual has to make an extraordinary effort to know themselves, to learn to think outside the box, to accept themselves, loving and valuing oneself, without letting oneself be swayed by the dominant tide of directed futility in which the canons of self-knowledge and self-valuation are disdained and a false feeling of belonging to the group is offered in exchange for giving up one's own identity. This is the sociocultural context in which La Culpa is born, where the person, taking into account what large corporations offer (food, education, information, etc.), does not accept their body and needs to take a bath of knowledge to achieve another self-awareness.

The entire project captures in images the purchase of a menu at a fast food restaurant, the time it takes to eat it and the subsequent relationship that the person involved establishes when looking in the mirror between food, body, proprioception and guilt. The collaborator who has done the modeling work wanted to participate in the project in order to delve into her own identity, the acceptance of her physical body and the connection between this and the feeling of guilt. Saturation, staging, low key, space, photomontage, perspective, movement, format, the body and the passage of time have been used as expressive resources studied during the course and applied to the project.

 
     
     
     
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