Artist, scholar and associated professor in Design and Fine Arts at the Complutense University of Madrid (UCM), Linarejos Moreno has been an invited Fulbright scholar at Rice University in Houston and a visiting professor of The School of Art in the College of Liberal Arts and Social Sciences at the University of Houston.
Her work explores subjectivity as a mode of resistance to reification, focusing on the non-productive uses of industrial spaces and scientific representation as a tool for interrogating modernity. Her research interests include the sociology of science/technology and the relationship between capital and contemporary forms of Romanticism.
Major solo institutional exhibitions include: Stop Vuelvo Pronto Stop (on view until 04/12/2020) at CentroCentro (Madrid), The Cloud Chamber (2018) at the Transart Foundation for Art and Anthropology (Houston) and the Centro de Arte de Alcobendas (Madrid), Tabularia. Laboratorios de Ciencia e Imaginación (2016) at the Royal Botanical Gardens (Madrid- PHE16), La construcción de una ruina (2016) in the Tabacalera. Promoción del Arte (Madrid- PHE16) – both of which formed part of the international photography festival PHotoEspaña, and Artifactual Realities (2016) at the Station Museum (Houston). Continue reading...
Artist, scholar and associated professor in Design and Fine Arts at the Complutense University of Madrid (UCM), Linarejos Moreno has been an invited Fulbright scholar at Rice University in Houston and a visiting professor of The School of Art in the College of Liberal Arts and Social Sciences at the University of Houston.
Her work explores subjectivity as a mode of resistance to reification, focusing on the non-productive uses of industrial spaces and scientific representation as a tool for interrogating modernity. Her research interests include the sociology of science/technology and the relationship between capital and contemporary forms of Romanticism.
Major solo institutional exhibitions include: Stop Vuelvo Pronto Stop (on view until 04/12/2020) at CentroCentro (Madrid), The Cloud Chamber (2018) at the Transart Foundation for Art and Anthropology (Houston) and the Centro de Arte de Alcobendas (Madrid), Tabularia. Laboratorios de Ciencia e Imaginación (2016) at the Royal Botanical Gardens (Madrid- PHE16), La construcción de una ruina (2016) in the Tabacalera. Promoción del Arte (Madrid- PHE16) – both of which formed part of the international photography festival PHotoEspaña, and Artifactual Realities (2016) at the Station Museum (Houston). Continue reading...
JUDAS
Abandonment of the house / Ritual: PLINY, Natural History, Book 35, Chapter 5.
From the point of view not only of the one who watches without being seen, but also of the one who is lying (Judas), a series of staged photographs of different interventions in the house has been taken. Charnier, which consisted in the partial stripping of the wall surface in a domestic space where a drawing had been made. Pliny, in a text appearing in his Natural History, Book 35, Chapter 5, refers to the origin of drawing as it being a woman who traced the shadow of her beloved on the wall prior to his departure. With the later peeling off of the mural painting and its subsequent transference to Madrid, where it was installed perpendicular to the wall as a temporal stratigraphy of the place, a structure of resistance in the face of the loss of the space is born, for a part of it transforms into a movable item that can travel alongside its former dweller.
_____________________________________
JOSÉ LUIS CORAZÓN ARDURA
…Together with a conception of photography in which the creation of fictions stands out, Linarejos Moreno develops a documentary painting whose origin is to be found in the stripping of wall surfaces of these spaces that, on a pictorial medium, leads to a temporal stratigraphy of the place. They are thresholds to be crossed in a world where utility and productivity work towards thwarting the possibility of escape, a necessary recognition of those places where we can still wander. ©
JOSE LUIS CORAZÓN ARDURA, 15-02-06