Critics’ Picks

Lucía C. Pino, Anhelo II, 2021, metal, fluorescent, methacrylate, polyester resin, fiberglass, acer, silver, tensors, dimensions variable.

Lucía C. Pino, Anhelo II, 2021, metal, fluorescent, methacrylate, polyester resin, fiberglass, acer, silver, tensors, dimensions variable.

Barcelona

Lucía C. Pino

La Capella
Address: Carrer de l'Hospital, 56, 08001
February 23–May 30, 2021

Exploring materiality through processes of sculptural modification, Lucía C. Pino creates environments where fluid bodies and planetary kinships mingle with references to ancient pasts. For their installation Makebelieve Neuromancer (all works 2021), ceiling lights hover close to the floor, creating the hermetic ambience of a laboratory within the darkened fifteenth-century chapel. The antiquated walls are covered with an artificial skin—a fiberglass membrane that both protects and obscures. Below the low-hanging lights, objects punctuate the space in an asymmetrical arrangement. For Sabiħa incredule (Skeptical Beauty), a pair of plaster casts covered in gelatinous resins and molten PVC plastic lounge on the floor like beached jellyfish. Pino suspends their references in a state of constant mutation, where gendered human parts meet the plastic-covered seashore.

Two large-scale sculptures, Lamias (Mermaids), are suspended from the high ceiling of the main exhibition hall. The laboratory lighting emphasizes their steel supports as they swoop through the space. Tucked in the pair of side chapels are two human-scale pieces—welded sculptures with anthropomorphic forms of transparent breasts and bellies encased in modified PVC plastic. Born from the aesthetic of scrapyard assembly, the sculptures occupy the walls like mythological warships; their votive breasts hang from delicate metallic chains as if protective armor. Like the garb of Ephesian Artemisia, their translucency makes them difficult to decipher, while the seeming liquidity of these hard materials denies the logic of binary thinking and the function of scientific definition. The exhibition moves toward a queer optimism that celebrates our ability to modify bodies and revels in the jouissance of transient states of being.