Luján Marcos

Luján Marcos

Artist selected by Vidal, Roberto at 2011
More artist content updated at 2016

Until relatively recently, I used to define my work in terms of different artistic disciplines, but I always had the nagging feeling I was limiting the real scope of the action itself: art as an act. I don’t define my work as action art or performance; and I can’t say that the videos, photographs and pieces that create these acts merely document the action.


I try to avoid confining art action to a single moment at a certain place for a given audience, although my pieces are often shifted in the form of installations. My work is the reflection of another reality in this. An exercise in splitting, where I keep up a dialogue with myself. Amongst other subjects, I reflect on and explore social standards, identity, the cracks that can appear in what’s defined, time and its perception, involuntary memory and the stream of consciousness that Proust talked of. Art as a tool for knowledge.


Luján Marcos Gozalo
Segovia, 1978
Vive y trabaja en /Lives and works in: Madrid

Formación Académica /Education
Licenciatura en Bellas Artes, Facultad de Cuenca, Universidad de Castilla la Mancha, España.

Exposiciones Individuales (Selección) /Selected Solo Exhibitions
Autor-retrato en silla, Galería Mad is Mad, Madrid.

Auto(RE)trato, Galería Mad is Mad, Madrid.

Exposiciones Iluminadas, Espacio Leonor Alazraqui, Madrid.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions
Presente Continuo, Conde Duque, Madrid.
VIVA Madrid 2013. International Video Art Festival.
Ahora es que si! New Gallery. Madrid.
Hacer lo cotidiano. Sala de Arte Joven Comunidad de Madrid.
Off Gallery. Just Mad 2013.

Espejismos. Mad is Mad. Madrid.
Paisaje sin título. Eco Festival. Matadero, Madrid.
Terraza Matadero. Cine Exit. Performance audiovisual.


DeZines. Space for Art. Zaragoza. Obra Social Caja Madrid, Aranjuez. Espacio Think. Langreo,
Asturias. Sala Rekalde. Bilbao, Spain..
Dibujo Anónimo. Sala de Arte Joven de la Comunidad, Madrid.


DeZines. La Casa Encendida, Madrid.
Exposición Colectiva. Galería La Pieza/Junk Art. Madrid.
{book}. Galería Mad is Mad. Madrid.


Clandestino Festival. Götteborg, Suecia.
Momentos íntimos. hh:mm:ss,  Mad is Mad, Madrid.
Al otro lado del Río, Espacio ON. Madrid.


Max Luz. Proyecto artístico temporal. Madrid.
10xmenosde100. Noche en Blanco. Madrid.


La Salita del Cóctel. Galería Valle Quintana. Madrid.


Exposición Colectiva. Universidad de BB.AA. Cuenca .


Exposición Colectiva "Galería Jamete" Cuenca.

Becas y Premios /Awards and Grants
Mi obra nunca ha sido presentada a premios o becas.

Obra en Museos y Colecciones/ Works in Museum and Collections
Colección Universidad de Castilla La Mancha.

Tlf. 677713025

1. What made you choose art as a profession?
Sometimes you have to know when to give in. I simply couldn’t avoid taking this path and then once on it I didn’t want to.


2. How would you define your work?
Sentimental. Autobiographical. Subtle criticism, at times ironic. Sometimes with a lyrical tinge.


3. What subjects are you interested in?
I’m not interested in any specific subjects. It’s more an interest in abstract ideas that vary depending on the stage or phase I’m living in. You could say I’m interested in identity in terms of the medium, the cracks that can appear in closed definitions and the perception of the flow of time.


4. What resources – formal or otherwise – do you use in your work?
It varies depending on each project. In fact, I’m quite spontaneous when it comes to resources, although they often end up being audiovisual pieces or installations.


5. What relationship does your work have with reality? What are your raw materials?
They coexist. I equate my work to my own reality. My raw materials are the perception of this reality, rather than reality itself. I don’t believe in the idea of a single reality.


6. What, according to you, is the point of art?
I can’t give a concrete answer to an abstract question, although I can say what point it has for me: I use it as a tool for knowledge (also self-knowledge) and as a way of relating to others based on other codes.


7. How do you hope the public will receive your work? What audience are you aiming at?
I’d like not to expect anything, and maybe part of me doesn’t, but another part looks for a certain degree of acceptance or receptiveness. I don’t believe an audience exists.


8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art. What I value most from this time in education is what I learnt, which isn’t the same as what I was taught. I particularly appreciate my experiences and the bonds forged with those I shared them with.


9. How would you define your current professional situation? And in the future?
Active. In the future I hope to remain active, carry out more ambitious projects and watch my own work evolve, amongst other things.


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?
I don’t think my work depends on these issues, although they may have a bearing in terms of materials or limit the scope of certain projects, but in essence I don’t think they shape it.


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?
What I look for might not be the same as what I expect. What I expect is a meeting of minds and an understanding. What I look for is creative activity as the fruit of this meeting and understanding.
You can have the same advantages and difficulties in your relationships with promoters and curators as with any other professionals, and these relationships are often more personal than professional.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I suppose precisely the fact that it’s in Madrid rather than anywhere else. The tiny details that make up the character of a city, its people and its scene, its path, the trail left by its past… these aren’t always the same. The same and very different things can happen in each city at the same time. There may be different factors at play and it’s hard to compare. On the plus side, I’d stress the fair amount of activity going on here. However, this activity is split into tiny groups that are often unaware of anyone else’s existence and there are no interconnections. This could also be seen as a positive thing, though.