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Noemi Iglesias Barrios - Love over, play again?
Artist Biography: Noemi Iglesias Barrios is a Spanish artist born in 1988 in Asturias. She graduated in Fine Arts at the University of Vigo in 2011 and obtained a master's degree in Contemporary Art at the University of Barcelona in 2013. Her work focuses mainly on photography and video art, exploring themes such as memory, the body and identity.Iglesias Barrios uses photography and video to create works that question the relationship between reality and representation, often using the human figure as a medium to explore these ideas. His works are often minimalist, using a reduced color palette and simple composition to focus attention on the subject of the work.Throughout his career, Iglesias Barrios has received several awards and recognitions, including the Botín Foundation Visual Arts grant in 2017 and the Castilla-La Mancha International Photography Biennial award in 2018. His work has been exhibited in various galleries and museums both in Spain and abroad, including the Museo Nacional Centro de Arte Reina Sofía and the Centro de Arte Dos de Mayo in Madrid, as well as at the Dakar Biennial of Photography.
The antithesis of self-care is a genuine product that has inhabited our society for centuries: the myth of romantic love. A relational behavior for which we have been instructed and educated since our earliest childhood. Popular culture is completely influenced by that collective romantic utopia, which has reached heights of extreme neoliberalism through social networks and dating apps. This has degenerated into a narcissistic and egomaniacal system that bases its functioning on superficial bonds, on love as a fast consumer product (fast love) and, in most cases, disposable. Desire ceases to be something unconscious and physical to become something conscious and analytical. Affective responsibility is conspicuous by its absence. And so the cycle repeats itself, and once again we turn to self-care as an antidote to the invisible wounds that all these processes leave on our self-esteem. Behind the blue velvet curtain, Noemi Iglesias presents different projects related to love in the digital age, the commodification of emotions and relationships seen from the prism of consumer culture. As in the previous room, three warnings appear printed on porcelain stoneware: Love over, play again?, I love you but I hate you. Sick on the floor", and If the phone doesn't ring, it's me. The three phrases are surrounded by bouquets and wreaths of flowers (a common feature in the work of Iglesias, who reproduces the traditional technique of porcelain flowers), of great delicacy, which contrasts with the harshness of the works' message. The fourth mural, We both swiped right, shows us again a profusion of flowers, roses, around which flutter phrases of messages sent by the Tinder application to its users to encourage interaction when a double match has occurred, and it's time to start the conversation: Tell her why you swiped right; you're both addicted to Tinder, that's something you have in common; someone should create an app to meet cool people.... oh, wait..., etc. (Text of the exhibition Built a home and watched it burn)
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