Lucía C. Pino



Valencia, Spain, 1977


Lucía C. Pino began her training at the Superior College of Art and Dessign of Valencia. She has a degree in Audio-visual Communication by the University of Valencia and finished her studies at DAMS in Bologna, Italy. She currently lives and works in Barcelona.

Through her long and consistent career, Lucía C. Pino has been developing a unic multidisciplinary practice, always accompanied by a great conceptual and research task aimed at the production of knowledge and hybrid objects. An investigation that is overlapped with the observation, evaluation, assignment and assembly of different layers of temporality, consistency and contingency. Her work appeals to the formation of new subjectivities and modes of existence through the volumetric study and the behaviour of various materials to try to deconstruct and construct different assemblages in their components and relationships.

Her particular perspective on sculpture and her eagerness to fill the space in a unique and circumstantial way, have made her show her work in numerous institutions and spaces in Barcelona and surroundings such as HANGAR, MACBA, the FITA Foundation, the VAD, the House of the Culture of Girona, the Biennial of Contemporary Art of Vic, Ana Mas Projects gallery, Casa Asia, Can Felipa or the Centre d’Arts Santa Mònica, among others.

In addition, she has also shown her work in other national and international spaces such as the Larraskito in Bilbao, the Local Project Art Space with the project ‘Window to Spain’ and the Pragda Big Screen Project, both in New York, and the Aulenti Gallery with the project ‘Il diavolo nel focolare’ at the Milan Triennale and D / ART / Sydney.

Recently, the DKV-Swab Award has acknowledged her as the best Spanish artist 2020. In the same vein, she has also received other awards such as ArtsFAD and the OSIC 2019 grant.

Her work is part of public and private collections, among which the MACBA Barcelona Museum of Contemporary Art, DKV Arteria, Utopicus Art and OdorVISUAL of the Ernesto Ventós Foundation stand out.


Artist’s statement

What I intend here by invoking sculpture, itself a contested term, is merely to underscore that the relationship being suggested between material, economics, politics, desire and critical theory is not a metaphor, analogy, or exemplification.

The specific cryptic about sculpture is interesting because it is a rehearsal of the enigma of the relationship between the place of what we can call reality and other locus. It could be understood as an activity, as a place of a particular interior-exterior negotiation that ultimately results in a geometrical locus. Surface document and mental space.

Sculpture is also a place where to set something, a momentum of suspension as an iridescent zone, shifting, at once elusive-and-alluring shining.

An assemblage isn’t a whole thing without fissures, but neither is it a mere aggregate without properties that are more than an addition of its parts. The assemblies cannot be updated, even in parts. They fluctuate vaguely around attractors rather than settle firmly on them.

Different vectors run through my research which also has multiple reverberations. This way of thinking and doing is influenced, and motivated by texts, conversations and works with other people, in no linear times and always under a queer perspective.”

Friction refuses the lie that global power operates as a well-oiled machine. (Anna L. Tsing. Friction. An Ethnography of Global Connection).