The necrodomestics of video games is a quantum metaphor for the proximity of deadly terror that is happening just a few kilometers away.

In this confedrama, someone who is recognizable as a technocrat, obligated by cynical transparency, reports on the ritual of damage inversion that happens among players of extermination video games; backed by a soundtrack of violence, he tells how to "update" deadly domesticity.

What is at stake is nothing less than our ability to digest the figures of extermination and our incredibly high tolerance for the notion of damage: collateral, expanded, etc.

They are new necropathies that have left behind the principle of leisure to monumentalize anxiety as a form of pure and precise sanitized torture. Freed players will be introduced, through drawings, to protect their lives.

Javier Peñafiel prefers working on long-term projects such as egolactante [egonursing] (1997-2007); Agencia de intervención en la sentimentalidad, [Agency for intervention in sentimentality] New York and Barcelona (1997-2001); Latido antecedente [Antecedent heartbeat] (2009-2013), Escritorio, [Writing Desk] Sao Paulo; Mera coincidencia, [Mere Coincidence] Lisboa; Os acasos convenientes [Convenient chance happenings], Agenda de caducidad de los tiempos drásticos [Agenda of the expiration of drastic times](28 São Paulo Biennial); Locución Merkel Bachelet [Merkel Bachelet speech], Berlin and Valparaíso. They are traveling projects, hybrid proposals involving voice and text. His publications Conquista básica, te vuelvo a pedir que te definas [Basic conquest, I ask you to define yourself again], CRU006 y No todo tanto [Not so much everything], Fine Arts Unternehmen, serve as co-laboratories. He writes and edits para-theatrical pieces such as Tragedia de las corporaciones [Tragedy of Corporations]. Ignorancia [Ignorance] (2000), Voz contraria[Contrary Voice (2009)] and Palacio polifonía [Polyphony Palace] (2010).

Activitat en el marc de l'exposició Tecnologies de la violència.

Sound Editor Adolf Alcañiz