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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.



…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. ©


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