Kepa Garraza (Berango, 1979) materializes in this project a chronological story in which we go over the highlights of a self-satisfied character’s life, with whom the artist shares name, profession and looks. Born in the ‘50s, the fictional Kepa Garraza succumbs to the flattering and the inertia caused by the network of economic forces, media and de facto power that turn him into a myth. He presents to us this alter ego, an authentic socialite, accompanied by well-known members from the highest levels of politics, the arts, business, rock music or the papier couché. The artist, brought up under the sign of media bombardment, employs the post-modern practice of appropriation of images. After selecting them carefully, Garraza inserts himself in the images, replacing the least significant personality and proceeding to a double perfomative action. In the first place, he undergoes a characterization process in order to get integrated in the context and adapt his image chronologically to the different moments. In second but most important place, he creates an identity to which he lends his image. Once transformed into this other Kepa Garraza, whose artwork is never shown, the artist embarks on a journey through space and time that takes him to coordinates that in no manner correspond with the ones of the real Kepa Garraza, whose work is exhibited for the first time in this gallery; conversely, he does not have a public social life. Jose Luis Brea in his essay “fábricas de identidad (retóricas del autorretrato)” states that there is no room for autobiography outside the environment of the collective, without the exchange with others. This way, through “snapshots”, in which the character appears rubbing shoulders with other members of the star system, company availing the status he enjoys, the artist manufactures this identity. Being its creator initiated in the knowledge of the subject’s inexistence previous to its appearance in the spaces of representation (Brea), from the media he picks explicit visual references that he manipulates for the execution of this series of fictional self-portraits that he wields as a throwing weapon against the archetype of the artist-star, devoted to social relations and public appearances rather than to his work, whose attitude before life and the profession lack the sufficient rigour. In the pictures, Garraza lets himself be seen with several personalities like Warhol, Hirst or Koons; products of the culture industry, much-reviled by Adorno, that Garraza, “the young”, deems accountable for the neglect of the political responsibility that art should assume (Benjamin) and for the vacuous spectacle for massive consumption that we are offered. The new character, through whom the real artist is imbued with notoriety and generational respect, will be able to act as a Trojan Horse for the true artist to undertake the fight from inside.