"Identity and web deviation" is a research project on new identities on the Internet and self-knowledge in online environments, starting from the contemporary reality referring to the different dimensions of the concepts of identity, intimacy, and the relationship between the public and the private. The synergies between image and new technologies, and how their effect is reformulated day by day on the very concept of “self” on the Internet. 

This research project is structured in 3 chapters: 1. "Digital identity according to my father" reinterprets family identity through the"Google Images" search engine to form a collective imaginary through downloaded and decontextualized photographs, generating relations of reality and fiction between its contents and the concept of family album. 2. "Connecting to partner" is a study of an online video chat platform and how its users are affected by thr self-awareness of the exposure of their intimacy, their sexuality, the dualism between presence and absence, as well as the singular feeling of incommunication that addresses this type of platform, some of them with less than 1000 active users. 3. The "Streisand Effect" is a term that evolved from the controversy, referring to the unintentional consequence of increasing public awareness of something through seeking to suppress information. From this concept and the relationship between the intentionality of wanting to hide / show certain content and its real scope, this chapter studies the aesthetics, semiotics and iconography of these digital procedures and the visual cues of the morbidity that accompanies them.

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This project has been awarded with a production grant from TABAKALERA - International Contemporary Culture Centre (Donosti) to be carried out by the artists Gómez Selva and Natalia Suárez between September - December 2018. Throughout their careers, both artists have perpetuated a common need to work with what has been found; with what remains. From the image, Gómez Selva has worked the register of everyday  elements as a search for the strange in the common. When the image becomes the only testimony of the experience, the manipulation of this record puts into question the experience itself. On the other hand, Natalia Suárez has developed several projects with the condition of working with what surrounds her, thus positioning herself actively with the work and the specific context of it. What connects these two lines of work is the interest in the appropriation of what is alien, and its transformation and re-signification. This idea of working with what is alien stems from the desire to use what has been discarded by others as raw material for the realisation of this project.

What do we understand for the discarded? If we assume the flow of images that occurs in our social dimension as excessive, waste is everything that this flow expels, and that we select and redirect towards an artistic process. It is obvious that this waste brings with it a symbolic, functional and / or affective load, which we intend to transform plastically. The flow of saturation referred to by the essayist Joan Fontcuberta in many of his papers, referenced by the rise of social networks, the consumer society, or the use of new technologies as a cult to the visual, leads us to ask whether we “need” to generate new images to carry out our artistic practice. Not wanting to criticise these statements, we decided to take advantage of them; take the testimony of Fontcuberta (among others) to identify missing images, or rather, those that we need. New technologies generate an incessant superposition of information, not only visual, but also as far as physical objects are concerned. It is, therefore, why we decided to collect, select, and transform what we find in the footprint of this "flow" of constant superposition, recycling what is found through our creation methods. This intention should not be confused with any kind of predictable appropriationism, much less understood as a cult to Sherrie Levine. Our work is based on a departure from the unpublished and the physicality of new images that are no longer part of an earlier "something", thus generating an intermediate level; a starting point between what is found and what will end up being. Practically speaking, this first phase consists of creating an imaginary by means of the exhaustive search of any source that we consider pertinent. This is why we propose this phrase of the project as part of our residence in Tabakalera, assuming its own context and adopting a proactive character in the development of our work.

In conclusion, and in addition to the interest that excess produces in itself, we are attracted to the unexpected connections that are created between discarded materials. A pile of garbage is a disturbance of order; a chaos in which new relationships arise between different elements, relationships totally alien to their original functions. This compilation of what remains in these spaces gives way to a common sharing; to a process of assimilation of these images.