Linarejos Moreno

Artist selected by Hontoria, Javier at 2010

Recurring ideas in my work include the arduous attempt to build and affirm an identity in a world at the mercy of productivity and macroeconomic figures, and the plastic qualities of time and ruins as spaces that have lost their function within the productive cycle. My pseudoscientific or industrial images and sculptures hide other elements that hint at a psychological narrative full of deeply felt pain. For years, my work has featured small mechanisms, studies of strata, wall pieces and my family’s factory and industrial spaces – first abandoned and now no longer there. I’ve used them to create photographic images or more complex installations combining tools made by factory workers, scientific devices, and objects and symbols through which the psyche asserts itself behind the great economic machine.


1.What made you choose art as a profession?
I suppose I was eager for knowledge: art enriches your awareness of the world and humankind – at times so intuitively that it would be hard to gain this knowledge any other way.

2. How would you define your work?
An exercise in humans’ struggle to be, to forge their identity and affirm themselves in a world where they are condemned to be pigeonholed as merely another statistic. Like the feeling of vertigo you get when looking into a chasm containing lots of tangled things, mortality, the fear of being dispensable, the difficulty of communicating with another person who sees you through the mirror of their own desires. If you’re lucky, you glance down quickly and learn more about yourself, before hastily grabbing onto the railing again.

3. What subjects are you interested in?
Giving shape to a utopian, interior space in the real space; the search for identity in an ever-changing world; the energy that time bestows on materials, not memory, but the plastic energy of time, its narrative potential; the dramas or deaths of productivity, like the destruction of spaces, the choice of maternity (or not) in accordance with performance criteria… The metaphor of the machine: the economic machine, Duchamp’s machine, the machine of the spectacle, the machine of desire…

4. What resources – formal or otherwise – do you use in your work?
I use several resources in parallel: I explore the scientific and industrial universe to draw out imagined developments, carry out studies of strata, build installations which look like tools for scientific demonstrations or pieces of clockwork; alongside are objects and drawings rich with meaning, which creates a kind of symbolic machinery; the staged or guided photograph as an heir to 19th-century tableaux vivants, which help me shape this other interior space.

5. What relationship does your work have with reality? What are your raw materials?
Reaffirming yourself in the face of the economic machine and forging an identity through this struggle involves subjects such as migration phenomena, job redundancies, the need for decent housing, balancing work and home life, mobbing, etc. My raw material is myself, as a recoverable plastic material that deforms under exterior forces, but then returns to its original position. Time, as well.

6. What, according to you, is the point of art?
I think it helps you understand or rethink the world and your place in it, to see it from other perspectives, to exist.

7. How do you hope the public will receive your work? What audience are you aiming at?
I’m aiming at anyone and everyone who feels an intuitive bond with my work. I hope they get something from it and that it enriches them.

8. What qualifications have you got? What do you value most from your time in education?
I’ve got qualifications in painting and sculpture conservation. Afterwards I worked several years in Paris at an architecture agency, where I was responsible for the graphic and photographic side of exhibitions, which gave me valuable experience with documents and photography. Each stage has given me something: conversations with teachers at the Fine Art School, workshop methodology from the sculpture conservation and restoration school; the architecture agency in Paris sparked an interest in architectural photography and gave me the chance to hear leading philosophers and thinkers at places like the Cartier Foundation and the Higher Education School. I hope to be able to continue my education throughout my life; I’m currently taking part in international artist residencies.

9. How would you define your current professional situation? And in the future?
In terms of personal research, great: lots of aspects to my work which previously seemed unconnected are starting to fit together. In the future I hope to complete the pieces and ambitious projects I’m working on at the moment.

10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
It certainly does have a bearing on your work. You have to cover a series of basic needs; if you have to earn a living from something else, you can’t spend the necessary time and energy on your work. In addition, the budget you set to create a piece could well have an influence on the way you conceive it, which is not necessary a bad thing: sometimes cutting back can make work more powerful. There is a bottom line, though, below which you can’t make big projects; you’re limited to smaller-scale pieces. Institutions ought to have a more responsible attitude when it comes to artists’ working conditions and at least pay fees for the projects they include in exhibitions. We also need to push for better social protection for artists; our status as freelance workers doesn’t fit with the dynamics of what we do, which means artists often can’t even pay their social security contributions. We need to think about ways of making things less precarious – the French Maison des Artistes could be a good example to follow.

11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
I expect them to work for art, rather than use art for other purposes or interests. I want them to take the necessary time to really get to know the artist’s work in depth, not just superficially or anecdotally – this includes going to artists’ studios. In terms of information exchange, I think there’s a need for a place or structure to make this communication more professional, a system of guided or arranged tours to artists’ studios.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
On the up side, there of lots of new centres, networks and backing. On the down side, the lack of communication between cultural agents and artists. Perhaps there’s a need for more professional structure to their relationships. I think that initiatives like this archive are a good place to start solving this problem, although it’s important to follow it up. I’d also like more conceptual debate on work.


Curriculum vitae

Linarejos Moreno
Madrid, 1974.

Vive y trabaja entre/Lives and works between: Madrid, Paris.

Formación Académica/Education

La distancia y la huella, Fundación Antonio Prieto, Cuenca.


Diploma de Estudios Avanzados, Facultad de Bellas Artes, Universidad Computense de Madrid.


Master TDI, Facultad de Ciencias de la Información, Universidad Complutense de Madrid. Beca Títulos propios.


Licenciada en Bellas Artes, Facultad de Bellas Artes, Universidad Complutense de Madrid.


Escuela Oficial de Conservación y Restauración del Patrimonio Nacional y Bienes Culturales, Madrid.

Exposiciones Individuales/Solo Exhibitions

Plañideras, Galería Vacío 9, Madrid.*


In the Country of last Things, Galería Llucià Homs, Barcelona; Casa de Velázquez, Madrid.*


39 rue Charonne, Galería Antonio de Barnola, Barcelona. Judas, Galeria K, Madrid.


Charnier, Espacio f, Madrid.


Pabellon Jóvenes Creadores, Ayuntamiento de Madrid. * Cat.Exp.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions

10+ Diez años del premio ABC en el Arte, Instituto Cervantes, New York; Varsovia; Moscow; China; Chicago; Canada. ARCO 09, Galería Llucià Homs (Barcelona), Madrid.


PULSE Miami, Galería Llucià Homs (Barcelona), Miami.

ARCO 08, Ideas y propuestas para el arte en España, Ministerio de Cultura (Madrid), Madrid.


Idilio. Sueño y Falacia, Domus Artium 2002, Da2, Salamanca.*
Arte Emergente Español, Sala Alcalá 31, Comunidad de Madrid, Madrid.*

Bienal de Valencia, Valencia.

Nada Art Fair Miami, Galería Vacío 9 (Madrid), Miami.

MACO, México Arte Contemporáneo, Galería Vacío 9 (Madrid), México D.F. ARCO 07,

Galería Llucià Homs (Barcelona);

Galería Vacío 9 (Madrid), Madrid.


Una Exposición Falada, Liquidación total, Madrid.

Mañana es demasiado tarde, Edificio Cronos, Madrid.

Nada Art Fair Miami, Galería Vacío 9 (Madrid), Miami.

MACO, México Arte Contemporáneo, Galería Vacío 9 (Madrid), México D.F.

ARCO 06, Galería Llucià Homs (Barcelona); Galería Vacío 9 (Madrid), Madrid.


VII Convocatoria Internacional Jóvenes Artistas,

Galería Luis Adelantado, Valencia. ARCO 05, Galería Llucià Homs (Barcelona); Galería Vacío 9 (Madrid), Madrid.


Fotografía y Ciencia, Círculo de Bellas Artes, Madrid.*


VOLTA SHOW 03, Galería Vacío 9 (Madrid), Basel.


La distancia y la huella, Fundación Antonio Prieto, Cuenca.*


ARCO 00, Galería Llucià Homs (Barcelona); Galería Vacío 9 (Madrid), Madrid.


Entornos de la metáfora, Sala Amadís, Madrid.* * Cat.Exp.

Programas de Vídeo/Film Festivals and Screenings

Hybrid Generations: Forms and Languages of Video-Art in Spain, CIGE 2009, Casa Asia, UCCA Fundación Ullens, Beijing.


Madrid 06. Arte. La Movida, Real Jardín Botánico.

Contexto exposición Destino Futuro. (Conferencia)

Becas y Premios/Awards and Grants

Concurso de Fotografía Purificación Garcia 2008. (1er Premio)

Certamen de fotografía contemporánea Pilar Citoler 2008. (Selección)


Premio Casa de Velázquez-Ay N. (1er Premio)


Premio de Pintura y Fotografía ABC. (1er Premio) Beca Casa de Velázquez.

Ministerio Francés de Educación e Investigación, Madrid.


Concurso de Fotografía Purificación García 2004. (Selección)

Concurso de Fotografía y Ciencia. (Selección)


Generación 2003, Obra Social Caja Madrid. (Selección)


Beca Germinations, Beca Europea de Artes Plásticas, Arteleku, San Sebastián en colaboración con el InJuve, Instituto de la Juventud, Madrid.


Muestra de Arte Joven, InJuve, Instituto de la Juventud, Ministerio de Trabajo y Asuntos Sociales, Madrid. (Selección y Adquisición)

Obra en Museos y Colecciones/Works in Museums and Collections
Colección Purificación García. Colección ABC.
Instituto de la Juventud, InJuve, Ministerio de Trabajo y Asuntos Sociales, Madrid.
Museo de Arte Contemporáneo Fregenal de la Sierra, Badajoz.
Colección de Arte Contemporáneo Paradores Nacionales.
Collection d'art contemporain Pebeo, France. Le Mémorial de Caen, Caen, France.

Rubio, Oliva María, Purificación García. Concurso de Fotografía 2008, Ed. STL SA, 2008, Cat. Exp.
VV.AA., Idilio, "Fantasía y Falacia", Fundación Salamanca Ciudad de la Cultura, Salamanca, Domus Artium 2002, Da2, 2007, Cat. Exp.
VV.AA., "Encuentro entre dos mares". Bienal de Sao Paulo-Valencia, Valencia, Fundación de la Comunidad Valenciana para la Promoción de las Artes Contemporáneas, Generalitat Valenciana, 2007, Cat. Exp.Moreno, Linarejos, "Plañideras", ABCD de las Artes y las Letras, ABC, n. 804, Madrid, 30/VI/2007.
VV.AA., "Aquí y Ahora. Tiempo y Lugar", Madrid, Consejería de Cultura y Deportes de la Comunidad de Madrid, 2007, Cat. Exp.
Revuelta, Laura; Corazón Ardura, José Luis, "Linarejos Moreno", Madrid, Galería Vacío 9, Madrid y Llucià Homs, Barcelona, 2006, Cat. Exp.
Díaz-Guardiola, Javier, "Linarejos Morales", ABCD de las Artes y las Letras, ABC, n. 769, Madrid, 28/X/2006.
Vidal Oliveras, Jaume, "Linarejos Moreno. Cazadora-chamán", El Cultural, El Mundo, Madrid, 26/X/2006, p. 37.
Hontoria, Javier, El Cultural, El Mundo, Madrid, 24/II/2005. Díaz-Guardiola, Javier, ABC Cultural, ABC, Madrid, 5/II/2005. (Portada)
Pulido, Natividad, ABC Cultural, ABC, Madrid, 19/I/2005.
Gisasola, Félix; Corbeira, Darío, XIV Muestra de Arte Joven, Madrid, Instituto de la Juventud, InJuve, Ministerio de Trabajo y Asuntos Sociales, 1998, Cat. Exp.