The series Psychosocial Policies continues the line of work started by Miguel Aguirre at the end of 2015 that is based on the appropriation of the engraved in linoleum work of the Czech artist Augustin Tschinckel, an artist that is associated with the Cologne Progressives (Germany) between 1928 and 1934.
However, unlike his series Underdevelopment Imaginaries in which he underlines the precarious conditions of factory work in a context of serious economic crisis, Aguirre comments this time on the alienation / subordination / stunning caused by the new technologies of the 21st century.
Emphasizing the abusive use of various social networks by almost every individual who owns a smartphone, Aguirre continues to present workers in their field of work but their eyes are the logos of those networks (Facebook, Instagram, Whatsapp, YouTube, Snapchat, among others.) that keeps them “connected” 24 hours a day, 365 days a year. The look of them no longer rests on the activity in the factory but is projected on the countless images, videos and text messages that flow in social networks. From the fashion youtuber, through the penultimate photo of one of the Kardashian, to the world hit Despacito (whose lyrics are present in the titles of each of the works).