sculptural intervention Detail legal course, on the altar of the chapel of the Trinity. Photo: Juan Plaza. has rarely been so powerful and expressive a rereading of the ancient sacred space of the chapel of the Trinity as legal tender , artist's sculptural intervention Murcia Juan Ramón Rico Lidó (Yecla , 1968) which these days occupies the museum's most unusual space Juan Barjola. The artist has transformed the large white altar cloth, one of the niches and part of the wall that surrounds and supports part of a torn allegory subjugation of man by force Lidó Rico complaint and the dark god of the time: money. An all-embracing in its malignant power, embodied and family in the giant form of the symbol which enhances legal tender as a divinity to enter in the front of the chapel in a high profile which mixes dozens of human heads and limbs emerge agony of the wall between gold bullion sacred books, phones and other everyday objects.
That sort of perverse cornucopia is a work center complete with all the figures that emerge from a niche and are scattered by the side of the ancient temple. In all cases, Lidó Rico relies on the constant formal and conceptual work has been unmistakable: the use of hyper reliefs in which the mold is invariably the face and body expressions showing the artist torn, painful, violent or bizarre, and is implanted directly on the wall, whose abstract whiteness seem to sprout in a desperate attempt to attack or escape. While some of them are covered with masks, in an obvious hint that binds the robber, the terrorist and the anonymous spirit of "collusion between merchants" who openly denounces legal course- displayed as anonymous other manifestations of submission or pain . Such a procedure
work, constantly referring to your body as a source of artistic creation while it alienates to represent the universal drama of contemporary man, connected with the physical intensity and dramatic performance , as is clear from the video that accompanies the procedure. It shows in all its intensity the agonizing process of preparing the figures, in which matter is submerged and buried the artist. While Lidó Rico is powered directly from the strength of Hellenistic sculpture, Miguel Angel and Baroque more violent, religious imagery, the catacombs and the votive offerings, and also references the irony epic closer, such as Robert Longo of the Corporate Wars. Complete
shows Cluster bombs installation, in which the artist focuses on yeclano another baroque emblems par excellence, the skull, which also appears extensively in legal tender, sometimes evoking gemstone jewelry. Lidó Rico has held the museum's main lobby Barjola with a great spiral of transparent skulls skulls filled with other children, who make up a dizzying, endless dance of death that seems impossible to escape.
(New Spain, supplement Culture, 14/10/1910)
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