|Cuándo:||28 feb de 2014 - 05 abr de 2014|
|Inauguración:||06 mar de 2014 / 18:00|
|Dónde:||Inman Gallery / 3901 Main St. / Houston, Texas, Estados Unidos|
|Organizada por:||Inman Gallery|
|Artistas participantes:||Linarejos Moreno|
Inman Gallery is pleased to present Linarejos Moreno:Fragmented Past/Reconstructed Present and Amy Blakemore: More Pictures to coincide with The Fotofest 2014 Biennial. This will be Moreno’s first exhibition with Inman Gallery and the first time many of these photographs are exhibited in the United States. It will be Amy Blakemore’s sixth solo exhibition with Inman Gallery. Both exhibitions open February 28th, with an opening reception Thursday, March 6th from 6 to 8 pm. Linarejos Moreno’s multi-disciplinary projects, though presented here as photographs, mean to operate in more dimensions than two or three. The images are compressions of memory, absence and social space, extending back in time and out into the gallery. Architectural fragments, the exhumed strata of a vanishing history, are Moreno’s primary subject and inspiration. She reanimates these remains with performances and installations, and the resulting pictures of the modified spaces achieve a spiritualist photograph’s blend of the documentary and the unearthly. Moreno is originally from Spain and although many of her spaces are sited in Europe, the architecture into which she integrates them is a more nebulous reconstruction, defined as much by what is absent as by what remains. Concrete and imagined spaces overlay each other, following the associative logic of dreams and conspiracies. Stalker – Cuadrado Negro for instance depicts ghostly physicists scribbling equations onto the chairs of an empty classroom, trying to mathematically approximate Kazimir Malevich’s Black Square. Ideology, its limitations and its real consequences find echoes in Malevich’s modernist aspirations and Soviet associations, as well as the contemporary economic realities that left the classroom abandoned. Moreno’s delicate drawings and collages act as a more intimate complement to her large-format photographs. The drawings are made on notebook paper taken from her father’s old factory, a fabrication shop that made component parts for trains. Now a ruin itself, the old building embodies the economic turmoil that continues to reshape Spain. All Moreno’s largest themes are reproduced in her drawings on a manual scale: the geometry of the old ledger lines, the memories that conflate personal and sociological change, and the tactile power of abandoned artifacts.