Lucía C. Pino, Antoni Llena ‘Panta rei. Tot flueix. Antoni Llena i Lucía C. Pino’

24 Feb - 25 May 2022
‘Panta rei. Tot flueix. Antoni Llena i Lucía C. Pino’



[…] With the joint presentation of works by two artists belonging to different vital moments and contexts, such as Antoni Llena and Lucía C. Pino, we confirm that generational boundaries are blurred because there are sensitivities and cultural currents that are repeated and establish affinities.

In the artistic context the term “generational” tends to be considered outdated. “The idea of ​​generation is one of the most slippery in the field of art. The limits are imprecise; vaporous distances; and the relevance, debatable (…) In these times, dispersed by itself, the generational term languishes while crying out for regeneration. (…) Let’s call it a circle of interests, an engine of correspondence, a common pulse, ways of doing things, affinity group or cellular system, illusion or coincidence. There the age range takes a back seat and the identification is transgenerational”, affirms Bea Espejo (El País, 2020).

Perpetual change and flow are characteristics that emerge in the works of the artists presented. The expression of this unbridled transformation is manifested in the materials they choose. “(…) it matters what materials we use to think about other materials, what stories we tell to tell other stories and what stories make worlds”, says Donna Haraway, a reference for so many contemporary artists (Duke University, 2016).


The works of Llena and those of C. Pino give great prominence to the materials that, through their precariousness, make evident the disregard for the transcendence or persistence over time of these creators. In both cases, the materials used place them close to poor art, without this being considered a pigeonhole or label in either of them. Their materials are simple, everyday kind, some natural, others artificial, sometimes envelopes from our industrial society that speak to us of human frailty and are, in their symbolism, both a metaphor for our languid existence and veiled criticism of excessive consumerism. They contain in themselves the constant change and transformation that the passage of time implies.

Lucía C. Pino investigates the possibilities of knowledge, not centered on the human, observing the behavior, possibilities of transformation or stability of materials, as well as the relationship they establish with the artist and the viewer. Through industrial, thermal or mechanical procedures, she explores the limits of materials and their transformation processes. Thus, when Pino tells us about her interest in studying how viscosity becomes solid, she places herself on the same plane as Antoni Llena, when she unperturbed witnesses the withering and decline of his delicate papers.

This contingent poverty makes evident the fragility of our world that breaks and the human avidity that puts it in danger, to the point of placing it in the most extreme position lived until now by our species. Paradoxically, it is in this same precariousness, wanted or forced, that a seed of hope for human beings is found, although some philosophers such as Timothy Morton and the theory of Dark Ecology (Columbia University Press, 2015) assure that the recovery of the planet it will have to go through abolishing the belief in the centrality of humanity.

The awareness of human futility has been extended to that of the planet. This current sensitivity is added to the succession of conceptions of nature that have occurred throughout the history of art, although now we are facing, perhaps, the most apocalyptic. The call to fight to reconnect with nature and be able to share resources that, as we already know, are finite, on an equal level with the other inhabitants of the planet, is an encouragement of hope. We can speak of a contemporary environmentalism at the base of the art of these two artists that reveals an intimately and profoundly political attitude.


Lucía C. Pino focuses on the possibility of creating new spaces of existence, new artificial places where, secretly or not, we will hear the life that we thought was almost extinct beating again. Lucía C. Pino’s exhibition at space 13 of the Fundació Miró in 2018 was, in the words of its curator Alexandra Laudo, “the construction, from sculptural speculation”, of a future island redoubt, a semi-isolated science fiction landscape in that the toxic and residual element is no longer distinguished from the biological one and in that cables, crystals, light tubes, water and even all the people who wander around, establish equivalence relationships between them” (Fundació Joan Miró, 2013). Establishing new forms of relationship, Pino tries to reinvent the links that humans have with matter and configures an imaginary landscape, not hierarchical. In reference to her project “Full Fantom Five”, title of a poem by Silvia Path (Penguin Random House, 1957) and a text by William Shakespeare, says that he thinks of a kind of spectrum, a politicized subject who seeks enjoyment and political action through aesthetics, a political being who knows that his present is a collapsed world, but who retains intuitions and suspicions, with some degree of hope.

We cannot help but wonder if this spectrum may have some relationship with the ghosts that pass through the works of Antoni Llena (Galeria Antoni Tàpies, Edicions T, 1999), paradoxical personifications of the imagination that identifies with reality, confronted with the fantasy of eternity and transcendence that its “dolmens” materialize.

Both, the ghosts of Antoni Llena and the specters of Lucía C. Pino, contain the intimate belief in a possible and hopeful future.


Extract from the curatorial text by Antònia Maria Perelló.