Lucía C. Pino | anamasprojects.com

Non-slave tenderness 113 1331 Series. Piece 1, 2018. Bent, twisted and dented brass, 100 x 32 x 21cm.

Lucía C. Pino | anamasprojects.com

She’s Becoming Difficult To Keep Track Of. Digital photography on fiber matte paper, 42,5 x 50 cm.

Lucía C. Pino | anamasprojects.com

She’s Becoming Difficult To Keep Track Of. Digital photography on fiber matte paper, 115 x 86 cm.

Lucía C. Pino | anamasprojects.com

On Your Dial, 2017. Latex and drawing

Lucía C. Pino | anamasprojects.com

It's already happening. It's here. It's that time, 2017

Lucía C. Pino | anamasprojects.com

She's Becoming Difficult To Keep Track Of. This Is The Time Of Sweet, 2017. Printing, resin and minerals

Lucía C. Pino | anamasprojects.com

She's becoming difficult to keep track of. This is the time of sweet, 2017. Prints, resin and minerals

Lucía C. Pino | anamasprojects.com

Metal Honey Shaves Her Head, 2017. Metal plate and latex

Lucía C. Pino | anamasprojects.com

ZULO BELTZAK II, 2015. Metallic mesh and asphalt, 34 x 28 x 37 cm

Lucía C. Pino | anamasprojects.com

S/T, 2015. Sponge, plaster, metal, 80 x 16 x 6,2 cm

Lucía C. Pino | anamasprojects.com

MUR II, 2015. Cobblestone, fabric, plaster, bricks, 42 x 38 x 34 cm

Lucía C. Pino | anamasprojects.com

Voluptuoso, 2015. Drum and mud, 62 x 70 x 58 cm

Lucía C. Pino | anamasprojects.com

Pilgrim Talk, Ronda Fantasmagòrica (2015) Slatted armchair, plastic works, metal tube,
plaster. Variable dimensions

Lucía C. Pino | anamasprojects.com

Vista de "Non-slave Tenderness". Espai13. Fundación Miró, (Barcelona) 2018

Lucía C. Pino | anamasprojects.com

Vista de "Non-slave Tenderness". Espai13. Fundación Miró, (Barcelona) 2018

Lucía C. Pino | anamasprojects.com

"Cuestión de Fé/Cuestión de Trozo" CCCC. (Valencia) 2018

Lucía C. Pino | anamasprojects.com

"Torrent Echidna Attractor" . Arts Santa Mónica.(Barcelona) 2017

Lucía C. Pino | anamasprojects.com

"Torrent Echidna Attractor" Arts Santa Mónica.(Barcelona) 2017

Lucía C. Pino | anamasprojects.com

"Torrent Echidna Attractor" Arts Santa Mónica. (Barcelona) 2017

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Place No emphasis", Ana Mas Projects (Barcelona) 2015

Lucía C. Pino | anamasprojects.com

"Z. Actions in the Attic", COAC (Barcelona) 2016

Lucía C. Pino | anamasprojects.com

"Z. Actions in the Attic", COAC (Barcelona) 2016

Lucía C. Pino | anamasprojects.com

"La Materia como Forma", Materfad / DHUB (Barcelona), 2016

CV

LUCÍA C. PINO

SOLO SHOWS

2018

Non-Slave Tenderness. Espai13. Fundación Miró. Barcelona.

Un sujeto construido en el punto de intersección de la multiplicidad de posiciones de sujeto. Casal Solleric. Palma

RAW Material. Espositivo Madrid

Cuestión de fe/Cuestión de trozo – CCC Valencia

2017

TORRENT ECHIDNA ATTRACTOR, Arts Santa Mònica, Barcelona.

Derby Bakora, etHall, Barcelona.

GROUP SHOWS

2016

La Materia com a Forma, la Capella, Barcelona.

In/out at Swab, Barcelona.

Enésima intempestiva at Àngels Barcelona. Espai 2. Barcelona.

Acciones en el Altillo. COAC. Barcelona.

La lliçó de Diógenes. Tecla Sala. L’Hospitalet de Llobregat.

2015

No Song to Sing. ADN Platform. Barcelona.

Fins i Tot un Paisatge Tranquil. Can Felipa, Barcelona.

Place, no emphasis. Ana Mas Projects. Barcelona Gallery Weekend.

Mercuri Splash. Fundació Joan Miró, Barcelona.

Juicio Sentimental. Acció Dissolvent. Deltebre.

Dórico Reforzado. Castillos y Bodegones. Salamina.

2014

T Sculpture. Domestica 3.

2013

Massa I. Casa de Cultura de Girona.

M a s s a — M u d a. Fundació Fita. Girona.

2012

Festival Proyector. Madrid.

Sin título (I would prefer not to). Casa Cultura de Girona.

Cámara poética en Filmoteca de Murcia.

Recitales para Interfono.

FRESH! Films recientemente producidos en Catalunya The Private Space. Barcelona.

Under The Subway. Local Project ART SPACE. Nueva York.

2011

Pragda Films Big Screen. New York. USA.

Lo que nos rodea. La Pieza. Madrid.

BAC. Galería H2O. Barcelona.

Esteu a punt per a la televisió? Macba. Barcelona.

2010

Liminal GR, Sala Off, Barcelona.

Bac! 11 Casa Asia. Barcelona.

Spin New York, USA. T21.

Fireball. La Pieza. Madrid.

2009

Optica FestivalLa Casa Encendida. Madrid. Colegio de España en Paris. Francia. CCAI. Gijón. Centro Huarte. Navarra. España.

Low Cost: lliures o còmplices? VuduTV. FAD. Barcelona.

Basti. Larraskito. Bilbao.

Hace ya días que abandonamos Alcorcón. Magatzem. Valencia.

2008

Stripart Barcelona.

Loop Video Festival. Barcelona.

Arco’08, Galería Moriarty. Madrid.

Mem Festival. Bilbao.

2007

Vad 2007 Girona.

Festival Ananil . Montemor-o-novo. Portugal.

2OO6

Il diavolo nel focolare. TRIENNALE de Milán. Galería Aulenti. Milán. Italia.

Va Bienal de Arte Contemporáneo de VIC Barcelona.

ViaLab. Laboratorio de Arte en la Via Pública. Badajoz.

Divergenz. Tanzfabrik Berlin. Alemania.

D/ART/2006. Sydney. Australia.

Obra reciente. Sala Naranja. Valencia.

GRANTS AND AWARDS

2O13

NCRlab 12 .

2O12

1st Prize. Inundart Arts Visuals. Casa Cultura Girona.

2OO6

Va Bienal de Arte Contemporáneo de Vic. 2º premio.

2OO1

Grant Bancaja. Dams. Università di Bologna.

Texts

  • JESÚS ANDRÉS
    Cámara Poética (2012)

    Lucía C. Pino develops a work with the will of destabilizing. She overlaps structures that we can not provide a clear sense with others that we have assigned a conventional sense but are not less absurd. She points out the arbitrariness of the meaning we assign to objects. For Lucía C. Pino video art is a way to shows the precariousness of the world and unstable of communication.
    For the artist we adapt reality to the representation we have of it. And therefore she intends to break this routine. Thereby she interferes perception, aiming to find a flawless vision, questioning vision, which do not accede directly to an standard answer.Lucía C. Pino uses camera movement, blur or frames removing, along with sound at odds with the pictures, to disrupt normal stereotyped assimilation. To this, she adds drawings, diagrams or objects made with paper to indicate the reduction we do from reality to patterns for its understanding. Moreover she does live together this reductions with its references in the same level of importance.Let us recall now Oliver Sacks in The Man Who Mistook His Wife for a Hat where the author narrates how impossibility to develop patterns or diagrams on relation with forms, prevents us to recognize objects. Lucía C. Pino intends to get us into this situation.

  • OIER IRURETAGOIENA
    Vorax Unfold (2014)

    Bodies of plaster, paper folds and wooden settings up, screwed or sometimes in equilibrium under its own weight.The first sensation on approaching Lucia’s objects is something about lightness and movement.Some pieces are stable and rigid, others fragile, that allude to the action of a style, such as gestures, made with a few hand movements, as the fabric folds.I see it written and I think is a good example of the textile. People says that those who work with fabrics are able to perceive if something has been folded a few hours, days, or weeks, something similar could happen with the clay or paper. The fragility of materials and constructions will make many of these objects to have a short life, but gives the impression that their work is not so important the results, as this continuous flow, doing and undoing, build and break, to insist again and again searching for something.This article could be titled “Things around.” And Lucia between (us with her too).Sometimes, she uses the objects to produce photo and video materials.Those, more than show a piece, transform them or create something from it. In many of the photos is difficult to have a clear perception of sizes, volumes and materials used. In some of this material you cannot watch the piece as a complete piece (in favour of composition), or because the artist is looking for a special frame, then they earn something, they become like a cartoonish character, and seems are greeting us. By losing the reference of the material they are made (often by being completely covered in paint), they could be soft, or like the chalk, which is scraped.The videos and photos take part of this inmediate character. Handheld, the movements and the record reveal tremblings. We can suspect what goes through the artist head at the time of recording: the tension, surprise for something unexpected, or joy at achieved a result (when she is hastily taking distance from the object recorded).She displays objects sometimes surrounded by other items such as tools and materials were used to build up (rules, paintings …) or domestic stuff as rags, glasses and kitchen tables.Sometimes her hands appears manipulating the pieces:Moving them, building something from multiple objects … or throwing, burning them.It seems that destroying them is holding the opportunity to go on and do more.

CloseExhibitions