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Lidó Rico

Born in Yecla (Murcia), Spain, 1968.
1990 École Superiere du Beaux Arts du Paris. France.
1991 Fine Arts Graduate . Polytechnic University of Valencia
Lidó Rico sculptures focus on the human subject, even if deprived of his individuality thanks to the use of masks or stereotyped gestures pushed to the extreme. Although being a faithful representation of the emotional state of a single person, the expressive gestures of Lidó Rico’s works appear to be strictly related to performance, maintain a certain distance from authenticity. This sort of tension between two apparently contradictory elements – reality and fiction- becomes a fundamental topic in the work of the Spanish artist, a friction where every gesture is and, at the same time, is not what it represents. Finding the balance between these contradictions, Lidó Rico’s work addresses the universal while focusing on the individual, in the attempt of freeing a grimace that is never fully subjective but belongs to that “other” in which everybody can easily recognise him or herself. Since the beginning of his career, the Spanish artist has been developing one of the most regular, constant and personal body of works inside the Spanish art scene. A body of works in which the eminent aesthetic of the materials used in his sculptures combines itself with an indisputable performative and gestural component. Result of a violent process of gestation where the artist, in a sort of ritual act, submerges his body in plaster in order to create an empty mould that will be subsequently filled with polyester resin, Rico creates fragmented bodies and dislocated faces that literally emerge from the walls as if they wished to find relief from their own tyranny.

Lidó Rico

Born in Yecla (Murcia), Spain, 1968.
1990 École Superiere du Beaux Arts du Paris. France.
1991 Fine Arts Graduate . Polytechnic University of Valencia
Lidó Rico sculptures focus on the human subject, even if deprived of his individuality thanks to the use of masks or stereotyped gestures pushed to the extreme. Although being a faithful representation of the emotional state of a single person, the expressive gestures of Lidó Rico’s works appear to be strictly related to performance, maintain a certain distance from authenticity. This sort of tension between two apparently contradictory elements – reality and fiction- becomes a fundamental topic in the work of the Spanish artist, a friction where every gesture is and, at the same time, is not what it represents. Finding the balance between these contradictions, Lidó Rico’s work addresses the universal while focusing on the individual, in the attempt of freeing a grimace that is never fully subjective but belongs to that “other” in which everybody can easily recognise him or herself. Since the beginning of his career, the Spanish artist has been developing one of the most regular, constant and personal body of works inside the Spanish art scene. A body of works in which the eminent aesthetic of the materials used in his sculptures combines itself with an indisputable performative and gestural component. Result of a violent process of gestation where the artist, in a sort of ritual act, submerges his body in plaster in order to create an empty mould that will be subsequently filled with polyester resin, Rico creates fragmented bodies and dislocated faces that literally emerge from the walls as if they wished to find relief from their own tyranny.

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COBERTURAS by Lidó Rico

All the covers cover, there are covers for insurance, phones, sports, military, informative, economic, but for sure the gastronomic are the most useful to understand the souls cover.
The gastronomic cover change appearance, because respecting the shapes the real truth is hidden, we are launched as human dressed by fear covers, we run away from the cold and arctic certainty because we are afraid to discover ourselves, because of the fear to liquefy and dissipate.
The soul tree guillotines swallow the previous exhibition. We could talk about family genealogy, like a far away perfume that slowly fails when going to the space. A man is all the men, a family is all the family, shy, homesickness, happiness, human souls, perceptions that escort us equally, all the unique doesn’t exist, all can be shared.
The tree is a metaphor where time has been trapped, the season that gives its shape are testimonial of its pass, his appetite made an arterial rhizome grid but they do not pretend to talk about natural energy but the perversion of being contrasted.
Nature is stupid but happy because doesn’t think, only survives and that is enough, the man stopped being happy when looking himself realized about his insignificancy, that was the beginning of the coverings, by means of layers and coverings we lose our original shape.
We are what the others want to see from us, we live in an epithelial and deformed room called body as frightened slaves.
Man as nature tripping, as drugged intruder full of logos mutated from the simple to the pad, from deepness and hidden to the inappropriate and enemy.
The natura as shimmering relic gives asylum in its matted branches a few outbreaks of tiny skulls where questions how have they arisen and up to what extent could develop and become thicker.
This exhibition is the human existence metaphor, an small piece of wildness proposes a devastated landscape, that exhales ancient descents, fatuous life trials that germinates hasty, thinking that will be the only ones in the useless work of germination. In this exhibition, the desolation disintegrates and faces against the stench and the pride that hypnotize our society, against that fiction of security we feel like sole and exceptional living beings.
Short living and random driven our existence. The experiences marks the situations that arouse totally independently to the human being, therefore even we considerate independent from nature, the nature always establishes the rhythms, the paths, even we think durable pieces, exact and indispensable the existence puzzle we are just senile progeny, time profaners, scared sediments that deserve their lives to clean out the own things on behalf of the somebody’s else glutinous ones.
Human existence is a cosmic illusion filled with news hawkers, favourites, specters and slaves, we are waterproof and we live without exploring, forgetting intuition, perplexed and porous we live like idiot magnets without study in depth how our life goes by.
Extremities as an unusual inane fires are suspended in the exhibition room and speak of an inexorable transit, the traffic of non raw material, in a pulse where physical rasp emanate from the anomalous glare and unknown, the real fears are to live not to die.We are soft matter, the physical and perennial has not interest, the thoughts and ideas are perennial, inner nature is an stigma that moves us towards a need or another, the strictly valuable and significance in humans is their spiritual matter.
Coverage of souls places us in the land of unusual and shifting, the route that proposes has unique direction and impels us towards our inner, explores the essence, redefining the soul as a single value, such as real and non- transferable depth charges.

Internal Agony – An approximation to Lidó Rico’s work
Text by Javier Hernando Carrasco

Throughout the Sixties and Seventies, two of the most important representatives of committed art in Spain: Rafael Canogar and Juan Genovés, created innumerable works halfway between painting and sculpture – in fact, the critics of the time coined the phrase escultopintura (sculpture/painting) to define them. They consisted of three-dimensional figures that literally jutted out from the canvas, which advanced until they were frozen at a particular point in time. So, depending on their position when their forward movement was stopped, they became bas, medium or high-reliefs. Invariably black shapes, with hardly defined faces that, anticipating the pictorial support, in their flight from it – another profoundly black space -, symbolise the terror of Franco’s repression.
The feelings of desperation almost always became apparent through body language, especially that of the arms which, thrown forwards, very clearly expressed, like the Magdalenes of the Italian Trecento painters, the terror and the rage unleashed in those situations. Therefore, the human body exteriorised the feeling of fear. The end of the dictatorship seemed to propitiate the end of the tortured body. That would be due to the new political order. However, the body recovers its importance in the final decades of the century when it becomes the scenario where some of the main threats that stalk modern man are settled. “Your body is a battlefield”, stated Barbara Kruger in one of her works. The new diseases, the debates on sexual or ethnic identity, the ambiguity of the cyborg, to mention only a few of the problems harassing us during this period, are in fact settled in the body. This is why, for many artists, the body has become something more than a mere support on which to develop their discourse; it has become, with Orlan for example, a fabric of transformation.
The artistic corpus invades and supplants the real corpus.

This prologue has served to situate the work of Lidó Rico, an artist who also focuses his creative work on the body, as an icon but also as a medium. Indeed, his own body constitutes the iconic material of his creations when he uses it as their mould. From this point of view, his work, on be corning a permanent reproduction of his corporeal shapes, could lead us to think that it is a personal, almost narcissistic exercise. However, the results show that nothing could be further from the truth. Because Lidó Rico uses his body to express stares of pain and anguish that, what is more, do not refer to himself but to a generic individual: modern day man. There is, therefore, complicity with the environment, meaning a commitment such as that acquired by artists in Franco’s time, although the very different circumstances of this period impose different discourses. It is not now about revealing the blatantly repressive conduct of power, but the state of disintegration that awaits the individual in this post-industrial society.

The pain may be physical, but it is almost always spiritual. It is difficult to compare the lack of communication and rootlessness with the ever more abundant manifestations of massive gregariousness. The subject lives his reality tragically. For many it is a material drama, for others a psychological one.
Lidó Ricos’ characters, literally vomited from the pipework, entangled in knots that are impossible to undo or simply doing everyday things, make up so many dramatic expressions of the violence that besets modern man, the true face that hides behind the ostentatious appearances of happiness and joy. The real face of so many unhappy existences. It seems, for different reasons, the man is condemned to endure a wretched life cycle; there seems to be no recess, no truce in the accumulation of miseries that would allow the spirit to relax.

It can’t be an accident that these representations by Lidó Rico share so many things with the works of the artists in Franco’s time that we mentioned at the beginning, not only because they coincide in the way they represent it – Lidó Rico’s works are also escultopinturas (sculpture/ paintings) – but because they resort to the desperate scream that, in his case, is always a scream of immense pain. His prisoner figures acquire a greater dramatic hue, as they are located directly on the wall, something that enhances their degree of realism as it sidesteps the reference to the pictorial framework that those of Canogar and Genovés maintained. If, in the works of the latter, the space they proceeded from did not really imply a tie (as it was the persecution by repressive agents that provoked their panic), in those of Lidó Rico the threat is invisible, as the cause of the pain is to be found in the individual himself. That is why the wall becomes the material support for the aggression, the space of reclusion. The titanic efforts to escape increase his suffering.

There lies the expressive key of this work that I would let myself compare, as I have already done elsewhere, with the most dramatic proposals of Michelangelo’s sculpture, which can be extended to the most exalted Baroque sculptors: Gian Lorenzo Bernini and Francesco Mochi, for example. But the Neo-Baroque identity of Lidó Rico’s sculpture embraces the idea of Michelangelo in two ways above all: creative experience as the liberation of material and as an act of pain. With reference to the first idea, the modelling of the image for Michelangelo was an act of liberation, as if the figure were trapped in the block of stone and were freed by the gouge; a liberation similar to that which Giuseppe Penone carries out with tree trunks, also looking for the essential structure by suppressing the overlying layers.
When Michelangelo was sometimes unable to conclude his operation of liberation: particularly with the slaves, the semi-liberated figure maintained a struggle with the mass to which it has been irremediably united. So, what was the consequence of unforeseen circumstances provided added value but when all is said and done, a value of capital importance, to the sculpture of the Florentine artist.
Lidó Rico’s figures maintain this combat in another way, as the material that grips them is much more perceptible, although none the less mortifying: the wall. Even the marked contrast between the smoothness of the support and the rhetorical complexity of the shapes that protrude from it: intricate in their gesticulations, audacious in their chromatic explosion, threatening in their shrieks, transmit a feeling of impotence with a force as consistent as that of Michelangelo’s slaves.
Lidó Rico’s figures are not the result of a liberation of the material, but their adherence to the wall, the fact that they are high reliefs, establishes a virtual trial of strength with it. With respect to the other element, pain, Michelangelo considered it to be the fulcrum of the creative experience, as the element that redeems the material of its condition and converts it into sculptural material. The artist himself redeems himself in said process. For Lidó Rico, pain also has a physical aspect by converting the process of creation of the work into a true performance. Smearing himself all over again and again to obtain the different moulds required to make his sculptures, the artist transmits, gives shape to his physical feelings that in their final elaboration become incarnations of spiritual uneasiness. His figures, always fragmented, show the tearing apart that besets them internally. Faced with the example of emotional unease shown through gesticulations, Lidó Rico prefers to focus his lament on the faces that become expression’s nuclear space. The face. Here we have the corporeal space that shows the feelings of the subject most honestly. This is why, when painting abandons its immature mediaeval stage, the face begins to become relevant. It is no accident that the great Giotto was the first to raise its role to a level hitherto unknown.

The contemporary world dramas of avant-garde artists are also expressed in the face: Picasso, Kokoschka, Grosz, the members of CoBrA, etc. Cries, laments, which acquire the condition of disproportionate in so many circumstances of our times. The distorted gestures of Lidó Rico’s figures submerge us in the pain of contemporary man; physical pain as the support of spiritual pain, facial deformation as a spontaneous sign of uncontrolled internal impulses.
If Charles Le Brun, the artist and theoretician of the French Baroque period, in consonance with his academic mentality, elaborated an array of physiognomic types to express different states of mind, Lidó Rico prefers spontaneity. It is during these operations to make the moulds that the physiognomies are built, almost always in torment. In this way physical pain gives a formal channel to internal pain.
The end result of his effort is manifested in corporeal fragments, residues of the same fixed by using synthetic resins. Faces, heads, extremities; the broken body that cannot ever be stitched together, beyond the feeling of physical pain itself, corporeal disarticulation is a reflection of internal agony.

Exhibition List (updated on Jan 2018):

Solo Exhibitions:

2017
“ Brain Trails “ Luisa Catucci Gallery – Berlin (D)
“ Do you have an idea ? “ RenArt Sanat Gallery – Istanbul  (TR)
“ Corpus “ Museo Regional de Arte Moderno – Cartagena, Murcia (E)
“ Corpus “ Palacio Aguirre – Cartagena, Murcia (E)

2016
“ Inestablos “ MUA. Museo de la Universidad de Alicante – Alicante (E)
“ The Wedding “ Sala Capilla, Edificio de la Convalecencia, Rectorado, Universidad de Murcia – Murcia (E)
“ Miró – Lidó “ Galeria Imaginart – Barcelona (E)
“ Chimaera” Galeria Hans & Fritz Contemporary – Barcelona (E)

2015
“ ¿A partir de cuantos nudos puedo navegar? ” EMAT, Espai Metropolitá d Art Torrent – Valencia (E)
“Histoire des Hommes Volants” Palacio Almudí – Murcia (E)
“El desafío de la mirada: Esculpir la idea” Proyecto Huellas, Sala Belluga, Fundación Cajamurcia – Murcia (E)
“ Medidas para Respirar “ Festival Imagina, Museo Municipal de San Javier – Murcia (E)

2014
“Cuando el cuerpo quiere quedarse” Palau Altea – Alicante (E)

2013
“Geografías” Galeria Sicart, Villafranca del Penedés – Barcelona (E)
“Tormentos” Fundación Antonio Pérez, Centro de Arte Contemporáneo – Cuenca (E)
“Nautas y Privados” Museo de Obra Gráfica San Clemente – Cuenca (E)
“Atrapados” Sala de Vitrinas, Museo de Obra Gráfica, San Clemente – Cuenca (E)

2012
“Wlobal Warming” Galeria Fernando Latorre – Madrid (E)

2011
“Curso Legal” Museo Barjola – Gijón (E)

2010 “Ex-Cultura” Fundación José García Jiménez – Murcia (E)
“Ex-Cultura” Museo de Bellas Artes – Murcia (E)
“Cobertura de Ánimas” OFF PAC, Fundación José García Jiménez – Murcia (E)

2009
“Flags” Galeria Fernando Latorre, Madrid (E)

2008
“Noctilucos” Espai Quatre – Palma de Mallorca (E)

2007
“Anónimos” Galeria Artnueve – Murcia (E)
“Succión Amarillo Victoria” Escultura exterior, Teatro Victoria, Blanca – Murcia (E)
“Exvotorio” Peregrinatio, Ermita de los Dolores  – Sagunto, Valencia (E)

2006
“Glups”. Galeria Fernando Latorre. Madrid (E)
“La mirada plural”.Real Academia de España. Roma.(I)
“Secadero de Pensamientos”. Palacio de San Esteban. Murcia (E)
“Glup de Aéreos”.Sala Robayera. Ayuntamiento de Miengo, Cantabria (E)

2005
“Reds”.Galeria Mixed Media. Shizuoca (J)
Galeria Christopher Cutts. Toronto. (CDN)
Selected by Ministerio de Asuntos Exteriores to represent Spain at  XXIII Bienal of Alexandria (ET)
Awarded with the Gran Prize, XXIII Bienal of Alexandria (ET)
“Pensavientos”. XXIIIBienal of  Alexandria, Museum of Modern Art Alexandria (ET)

2004
“Explorer 515-516”. Galeria Fernando Latorre –  Madrid (E)
“Locutorios”. Sala de exposiciones Consistorio de San Marcelo. León (E)
“Peregrino”. Fachada del Consistorio de San Marcelo.León (E)
Galeria Fernando Silió. Santander (E)
“Envirospheres”. Galeria Mssohkan. Kobe (J).

2003
“Ambiências”. Galeria Minimal Arte Contemporánea. Oporto (P)
“Apegos”. Galeria Maria llanos. Cáceres (E)
“Provisionario”Horno de la ciudadela. Pamplona (E)

2002
“Revisôes” Galeria Minimal Arte Contemporánea. Oporto (P)
“Sumergidos” Museo de la Universidad de Alicante (E)
“Con-texto” Galeria Fernando Latorre. Zaragoza (E)
“No Lugares”. Fundación La Caixa. Tarragona (E)
“Atmosferas”.Palacio Aguirre.Cartagena (E)
“Fillites”.Galeria Vértice. Oviedo (E)

2001
“Vertidos”. Galería Tráfico de Arte. León (E)
Honorable Mention. VI International Biennial of Drawing and Graphic Arts, Györ (H)

2000
“Tampoco es seguro el sueño”. Galería Magda Bellotti. Algeciras (E)

1999
Tránsito 1999. Stand Galería Espacio Mínimo. Toledo(E)
“The showerfighters”. Palacio Almudí. Murcia (E)
“Retornos”. Galería Caracol. Valladolid (E)

1998
“Campo de Batalla”. Palacio de Abrantes. Universidad de Salamanca (E)

1997
“Fisionomías”. Galería Palma Dotze. Villafranca del Penedés, Barcelona (E)
“Festival internacional de Arte Ciudad de Medellín 1997”  (CO)
Salón Internacional de Artes Plásticas. Bienal Internacional. Medellín (CO)
“Vampirium Spectrum”. Galería Espacio Mínimo. Murcia. (E)

1996
Cohen/Berkowitz Gallery, Kansas City (USA).
“Optical Dreams”.Galería Tabea Lamgenkamp. Dusseldorf (D)
“Mutilations”. Sala Carlos III. Universidad Pública de Pamplona (E)
“Reluctantes”. Galería Espacio Mínimo. Murcia (E)
“Escisiones Circulares”.Galería DV. San Sebastián (E)

1995
“Sèmeur éternel” Galería Espacio Mínimo. Murcia (E)
“ Sur un Destin”.Galería Ferrán Cano. Palma de Mallorca (E)
“Fragmentos”. Galería Ad Hoc. Vigo, Pontevedra (E)
“Revisiones y Mutaciones”. Galería Ferrán Cano. Barcelona (E)

1994
“Transitos”. Galería Delpasaje. Valladolid (E)
“Parafine Aeralist”. Galería Emilio Navarro. Madrid (E)

1993
“Luminarias”.Galería Mácula. Alicante (E)
“Rotación Inestable”. Galería Fúcares. Almagro, Ciudad Real (E)

1992
“Parmi Nous”.Club Diario Levante. Valencia (E)
“Silencio Nepal” Galería Espacio Mínimo. Murcia (E)
Selected by Comunidad Autónoma de Murcia to realise an external sculpture for the Pabellón de Murcia (E)
“El Martirio de San Miguel”.Exposición Universal de Sevilla. EXPO’92 (E)

1991
“Del Lenguaje de Las Piedras”.Galería Rita García. Valencia (E)
“Où ten test acier”. Galerie Hensel & Reifferscheidt. Colonia (D)
“Ignorés”. Galeria Espace Flon. Lausanne (CH)

1989
Spazio Viola. Brescia (I)

Group Exhibitions:

2017
“ The Little Match Girl.”. Galeria Hans & Fritz. Barcelona (E)
Scope Basel 2017 Luisa Catucci Gallery,  Basel (CH)
“Dibujo contemporáneo. El muro y la Lima”.MA Arte Contemporáneo. Palma de Mallorca. (E)
Artbocaraton. 2017. Galeria Imaginart. Boca Raton. Miami. (USA)
“ Nuestros artistas “.Galeria Imaginart sede Bogotá. Bogotá . (CO)
“ Mare Nostrum “. Galeria MA Arte Contemporáneo. Palma de Mallorca (E)

2016
“ The Winter Tale “.Galeria Hans & Fritz Contemporary. Barcelona. (E)
“ Infernofilia “. Fábrica Braço de Prata. Lisboa.(P)
“ Vanidades, intelecto y espiritualidad “. Centro del Carmen. Valencia. (E)
“ Views “. Ritz Carton Bahrain. Manama. King of Bahrain. United Arabs Emirates (UAE)
“ En un silenci quiet. Paisatges “. Llotja de Sant Jordi. Alcoy. Alicante (E)

2015
Barcú 2015. Feria internacional de Arte y Cultura. Galeria Imaginart. Bogotá. (CO)
“Stamina”. Galeria Hans & Fritz Contemporary. Barcelona. (E)
“Paisajes Protegidos: de Folquer a Sao Paulo”. Colección Ars Citerior. Museo de Bellas Artes de Castellón (E)
Art Cartagena 2015. Galeria Imaginart. Cartagena de indias.(CO)
Officium. Galeria Miguel Piqueras. Godella. Valencia (E)
Art Lima 2015. Galeria Imaginart. Lima. (PE)
“La Verdad con el Arte”. Sala Velázquez. Museo Ramón Gaya. Murcia (E)

2014
Dibujos Inéditos en la Colección del IVAM. Instituto Valenciano de Arte Moderno.IVAM. Valencia (E)
India Art Fair 2014. New Delhi. Galeria Imaginart. (IND)
“Bombas de Racimo”. Just Sized. Colegio Oficial de Arquitectos. Madrid (E)
Art Lima 2014. Galeria Imaginart. Lima. (PE)
Intramurs. Festival per l´Art a València. Valencia (E)
Odeón Bogotá 2014. Feria de Arte Contemporáneo. Galeria Imaginart. (CO)

2013
“Arte y espiritualidad”. Instituto Valenciano de Arte Moderno.IVAM. Valencia (E)
Asia Contemporary Art Show. Galeria Imaginart. Hong Kong. (HK)
Contex Art Miami. Galeria Sicart. Miami. (USA)
Fia Caracas 2013. Galeria Imaginart (VZ)
Odeón Bogotá.2013. Feria de Arte Contemporáneo. Galeria Imaginart (CO)

2012
“Surtidores y Licuados”. Galeria Fernando Latorre. Madrid (E)
Contex Art Miami. Galeria Sicart. Miami (USA)
“Sala 0”. Galeria Vertice. Oviedo. Asturias. (E)

2011 “Mis amigos y yo antes de la resurrección”. Galeria Fernando Latorre. Madrid (E)
Art Prize Ciudad de Palma “Antoni Gelabert” de Artes Visuales 2010. Casal Solleric. Palma de Mallorca (E)
ArteBa 2011. Galeria Sicart. Buenos Aires. (RA)
Swab 2011. Galeria Sicart. Barcelona. (E)
Pinta Londres 2011. Galeria Sicart. Londres. (UK)
“Dime que me quieres aunque sea verdad”. Galeria Sicart. Vilafranca del Penedés. (E)
Colección Ayuntamiento de Pamplona. Casa del Almirante. Fundación Maria Forcada. Tudela. Navarra. (E)

2010
“El arte del desnudo”. Centro Cultural San Marcos. Toledo (E)
“La memoria en el laberinto”. Centenario de Miguel Hernández. Palacio de Congresos Ciudad de Elche (E)
HOT ART FAIR. Galeria Fernando Latorre. Basel (CH)
“25 años Muestra de Arte Injuve”. Círculo de Bellas Artes, Antigua Fábrica de Tabacos. Madrid (E)

2009
“ Impacte!”.Fundación Vall Palou. Lleida (E)
“Psicótico”. Galeria Fernando Latorre. Madrid (E)
“XX artistas de la nueva figuración”. Palacio Almudí. Murcia (E)
“Paisatge. Mirades Contemporanies”. Centro Municipal de Exposiciones. Elche. Alicante (E)
“Space”.10th Internacional Bienal of Drawing and Graphic Art. Városi Müveszeti Múzeum. Györ. (HU)
Sala de exposiciones Caja Duero. Palencia. (E)

2008
“Los colores del Pop art” Centro Cultural Puerta Real. Granada (E)
Galeria Vértice. Oviedo (E)

2007
“pOp Art”. Caja Vital Kutxa. Vitoria-Gasteiz. Álava (E)
“El Pop Art “. Bancaja. Castellón (E)
Galeria ARTCORE. Toronto. Canadá. (E)
“Gabinete de crisis”. Galeria Fernando Latorre. Madrid. (E)
“Salcillo XXI”. Iglesia de Verónicas. Murcia (E)

2006
“Peripheries of the body. New art from Spain”. White Box. New York. (USA)
“Peripheries of the body”. Museo de Bellas Artes. Murcia (E)
TORONTO INTERNATIONAL ART FAIR.2006. Stand Galeria Fernando Latorre. Toronto (CND)
IV Salón de la Crítica. Sala Caballerizas de los Molinos del Río. Murcia (E)
“El arte del desnudo”.Caja Canarias. Tenerife.(E)
“El arte del desnudo”. Caja Canarias. Gran Canaria. (E)

2005
CIGE .CHINA INTERNATIONAL GALLERY EXPOSITION. Galeria Mssohkan (CHN)
China World Trade Center. Beijing. (CHN)
“Mensajes cruzados. Parlamentar con lo Real en el Tiempo”.Museo Vasco de Arte Contemporáneo. Artium. Vitoria (E)
“Diez años de adquisiciones en arco”.Sala de Armas de la Ciudadela. Pamplona (E)
Galeria Vértice. Oviedo. (E)
TORONTO INTERNATIONAL ART FAIR.2005. Stand Galeria Fernando Latorre. Toronto (CND)
“Robatoris” 8º Bienal Martínez Guerricabeitia. Museu de la Ciutat. Valencia (E)

2004
“Era uma vez…numa rua do Porto”. Fórum cultural de Cerveira. Vila Nova de Cerveira (P)
Galeria Vértice. Oviedo. (E)
CONTEMPORÁNEA-ARTE. Colección Pilar Citoler. Sala Amos Salvador, Cultural Rioja. Logroño (E)
“El collage, un encuentro”. Antigua lonja. Ayuntamiento. Elche. (E)
ARTESANTANDER 2004. Stand Galería Fernando Silió. Santander. (E)
ART SCENE WAREHOSE. Shanghai. (CHN)

2003
“La Piedra de Toque”. Galeria Fernando Latorre . Madrid. (E)
ARCO’03. Stand Galeria Vértice. Madrid. (E)
Adquisiciones Recientes (2001-2002). Centro-Museo Vasco de Arte Contemporáneo, Artium. Vitoria. (E)
“Historia de la fotografía en la Región de Murcia 1863-2003”. Sala de Verónicas. Murcia.(E)
“Fronteras”. Fundación Sancho el Sabio. Caja Vital Kutxa. Vitoria. (E)
FORO SUR. Feria Iberoamericana de arte contemporáneo. Stand Galeria Maria Llanos. Cáceres. (E)
“Pequeño Formato”.Galeria Fernando Latorre. Zaragoza.(E)

2002
ARCO’02. Stand Museo de la Universidad de Alicante. Stand Galeria Minimal Arte contemporánea. Madrid.(E)
“ Objetos de Autor”.Bienal de Cerveira.Vila Nova de Cerveira. (P)
ARTESANTANDER 2002. Stand Galería Fernando Latorre. Santander. (E)
ARTE LISBOA 2002, Stand Galeria Minimal. Stand Galeria Maria Llanos. Lisboa (P)
HOTEL Y ARTE 2002,Stand Galería Fernando Latorre. Stand Galeria Maria Llanos. Sevilla (E)
Galeria Vértice. Oviedo. Galeria Minimal. Oporto, (P)

2001
“Confluencias, El desafío de la mirada” Galería Fernando Latorre. Zaragoza (E)
“Art A L`HOTEL 2001” Stand galería Fernando Latorre.Valencia. (E)
VI INTERNATIONAL BIENNIAL OF DRAWING AND GRAPHIC ARTS. Györ,( HU)
HOTEL Y ARTE 2001,Stand Galería Fernando Latorre. Sevilla. (E)
Certamen de artes plásticas ”Ciudad de Palencia” Fundación Díaz Caneja. Palencia. (E)
Certamen Caja España de escultura 2001. Itinerante. Castilla Leon.(E)
ARTE LISBOA 2001, Stand Galería Minimal. Lisboa, (P)

2000
“Clones” Galeria Espacio Mínimo. Murcia. (E)
ARCO’00. Stand Galería Espacio Mínimo. Madrid.(E)
M.A.F. Maastricht Art Fair. Stand Galería Espacio Mínimo. Maastricht (NL)
ART CHICAGO 2000. . Stand Galería Espacio Mínimo. Chicago (USA).

1999
ARCO’99. Stand Galería Espacio Mínimo. Madrid. (E)
SAN FRANCISCO INTERNATIONAL ART EXPOSITION 1999 (USA)
Stand Galería Espacio Mínimo. San Francisco (USA).
HOTEL Y ARTE 1999. Stand Galería Espacio Mínimo. Sevilla. (E)
RIPARTE 1999. Stand Galería Espacio Mínimo. Roma (Italia). (E)

1998
THE GRAMERCY INTERNATIONAL CONTEMPORARY ART FAIR.Stand Galería Espacio Mínimo. Miami (USA).
ARCO’98. Stand Galería Espacio Mínimo. Madrid. (E)
ART BRUSSELS 1998. Stand Galería Espacio Mínimo. Bruselas (B).
ART CHICAGO 1998. Stand Galería Espacio Mínimo. Chicago (USA).
THE GRAMERCY INTERNATIONAL CONTEMPORARY ART FAIR. Stand Galería Espacio Mínimo. New York (USA).
ART FORUM BERLIN 1998. Stand Galería Espacio Mínimo. Berlín (D)
HOTEL Y ARTE 1998. Stand Galería Espacio Mínimo. Sevilla. (E)
THE GRAMERCY INTERNATIONAL CONTEMPORAY ART FAIR.Stand Galería Espacio Mínimo. Los Angeles (USA).

1997
THE GRAMERCY INTERNATIONAL CONTEMPORAY ART FAIR.Stand Galería Espacio Mínimo. Miami (USA).
ARCO’97. Stand Galería Espacio Mínimo. Madrid. (E)
THE GRAMERCY INTERNATIONAL CONTEMPORAY ART FAIR.Stand Galería Espacio Mínimo. New York (USA).
EXPOARTE GUADALAJARA 97. Stand Galería Espacio Mínimo. Guadalajara (MEX).
FIAC 97. Stand Galería Espacio Mínimo. Paris (F)
THE GRAMERCY INTERNATIONAL CONTEMPORAY ART FAIR.Stand Galería Espacio Mínimo. Los Ángeles (USA)

1996
“Caos em expansao” Galeria Por Amor á Arte. Oporto (P)
ARCO’96. Stand Galeria Espacio Mínimo y galería Tabea Lamgenkamp. Madrid (E)
ART CHICAGO 1996. Stand Galeria Espacio Mínimo. Chicago (USA).*
LISTE 96-THE YOUNG ART FAIR in Basel. Stand Galería Espacio Mínimo. Basilea (CH).
RIPARTE 96. Stand Galería Espacio Mínimo. Roma (I)
EXPOARTE GUADALAJARA 96.
Stand Galería Espacio Mínimo. Guadalajara (MEX)
Arte Primitivo/Arte Contemporáneo. Gobierno de Cantabria, itinerant (E)
THE GRAMERCY INTERNATIONAL CONTEMPORAY ART FAIR. Stand Galería Espacio Mínimo. Los Angeles (USA).

1995
“Paper view” Cohen/Berkowitz Gallery.Kansas City (USA).
ARCO’95. Stand Galeria Espacio Mínimo. Madrid.(E)
ART CHICAGO 1995. Stand Galeria Espacio Mínimo. Chicago (USA).
ART COLOGNE 1995. Stand Galeria Espacio Mínimo y Galeria Tabea Lamgenkamp Colonia (D)
Mostra Contemporary Art. 1995.Novo Aviz Trade Center. Oporto (P)
Artistas jóvenes en los fondos del Museo Nacional Centro de Arte Reina Sofia. Centro Wilfredo Lam. La Habana (C)

1994
ARCO’94. Stand Galeria Espacio Mínimo. Madrid. (E)
ARTÍSSIMA 1994. Stand Galeria Espacio Mínimo. Turin (I)
ART COLOGNE 1994. Stand Galeria Espacio Mínimo. Colonia (D)

1993
Étade des lieux. Espace Flon. Lausanne (CH)

1992
Dibujar en Murcia. Pabellón de Murcia.* Exposición Universal de Sevilla. EXPO’92. (E)
Tres propuestas plásticas para el próximo milenio. Pabellón de Murcia. EXPO’92. Sevilla. (E)
XX. Un Siglo de Arte en Murcia. Salas del Arenal. Sevilla (E)
Art Import. Rheinauhafen, Agripinawert 6. Colonia (D)

1991
Artistas Murcianos en Barcelona. Casa Elizalde. Barcelona (E)

1990
Jóvenes Creadores de Artes Plásticas. Sala de Exposiciones de San Esteban. Murcia (E)
Muestra de Arte Joven. Museo Español de Arte Contemporáneo. Madrid (E)
III Bienal de Escultura de Murcia. (Premio Adquisición). Murcia (E)
Cero en Conducta. Galeria Xerea. Valencia (E)

1989
Murcia joven. Asamblea Regional. Cartagena. Comunidad autónoma de Murcia (E)
Murcia joven. Fundación Cajamurcia. Madrid (E)
“Lo que hay que ver” Galeria Espai Lucas. Gandia (E)

Public Collections

Museo Nacional Centro de Arte Reina Sofía. Madrid.
Museo Vasco de Arte Contemporáneo. Álava Artium.Vitoria.
Colección Shaikh Rashid Bin Khalifa Al Khalifa. Bahrain. Emiratos Árabes.
Instituto Valenciano de Arte Moderno. IVAM. Valencia.
Municipal Museum of Art. Györ, Hungría.
Museo de Arte Moderno. Alejandria. Egipto.
Colección Testimoni. La Caixa. Barcelona.
Colección Real Academia de España. Roma. Italia.
Fundación Mssohkan . Japón.
Museo de la Universidad de Alicante. Alicante.
Colección JASP. México, D.F.
Colección Instituto de la Juventud. Madrid.
Colección Pública Ayuntamiento de Pamplona.
Colección Universidad de Salamanca.
Museo Regional de Arte Moderno. Cartagena. Murcia.
Colección Banco de España. Madrid.
Colección Ayuntamiento de Murcia.
Colección Club Diario Levante. Valencia.
Museo de Bellas Artes de Murcia.
Colección Comunidad Autónoma de Murcia.
Colección TransArt& Co La Naval. Cartagena. Murcia.
Colección Ayuntamiento de Belleguard. Valencia.
Colección Caja de Ahorros de Murcia.
Colección Tesorería General de la Seguridad Social. Murcia.
Colección CIRCA XXI, Pilar Citoler.Madrid.
Colección Ernesto Ventós Omenes. Barcelona.
Colección Ayuntamiento de León.
Colección Ayuntamiento de Blanca. Murcia.
Colección Martinez-Lloret. Altea. Alicante.
Fundación José García Jiménez: Murcia.
Colección Municipal del Ayuntamiento de Miengo.Cantabria.
Colección Ayuntamiento de Yecla
Colección Centro Hernandiano. Elche. Alicante.
Colección Fundación Cajamurcia.
Fundación Antonio Pérez. Cuenca.
Collezione Acacia. Turín.
Colección Teatro Olympia. Valencia.
Colección Ars Citerior. Valencia.
Colección Instituto Murciano de Investigación Biomédica.
Colección Universidad de Murcia.

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