The title of the exhibition, Derby Bakora, conveys the merging of two concepts: the first one, in relation to Derby, reverberates to the motor industry and competitions; the second, in relation to Bakora, has its origin in the bacor, albacor or albacora (from the arab al-baküra) fig tree which is part of the arab legacy in the eastern region of the Iberian Peninsula on the mediterranean Coast. The fig tree is a fruit tree that was cultivated, according to the archaeobotanics, for over 11,400 years. Figs and spare parts of motorcycles, tubes, resins and grease. Solid material comprehended as an organism. Vibrant matter, dry fluid. Ghost Rider.
Apparently remote things are related in a natural manner through the body, mind and energy of who proposes. A way of thinking and feeling traversed by the desire to be red skin and transfeminist bakora.
A disciplined body is a thermodynamic organism composed of organs that are auto-structured and organised in a hierarchic manner, crossed by energy currents which tend towards entropy and death.
In Derby Bakora the artist proposes a sculptural exercise to decentralize the optimization of resources benefitting the experimentation, considering that the post-disciplinary power operates in a space of continuous flux, turbulent, that is arranged by means of modulation. Bakora modular turbulenta.
Lucía C. Pino, currently based in Barcelona, started her formation at the Escola d’Art i Superior de Disenny de València. She has a BA in Audiovisual Communication from the UV and finished her studies at DAMS in Bologna, Italy. C. Pino’s practice focuses on sculpture understanding it in a broad sense throughout the study of materials, context and spacial circumstance. In her investigation, observation, evaluation, assignation and superposing different layers of temporality and consistency are juxtaposed. Her work expands generating a complex chain of experiences of movement, weight, tension, structural pursuance, formal counterpoint and rhythm which resonates and interacts with the space and the person who is experimenting (beyond the isolated retinal images). This determination reveals some dialectic tensions, as if it were a type of conversation about subjectivity and the vitalness of things that puts in evidence its very political being or its interest further the anthropology. She has showed her work in various spaces such as Fundació Miró, MACBA, Ana Mas Projects, Coac or Fad in Barcelona; also at the Filmoteca Regional de Murcia Francisco Rabal; in Local Project Art Space (NY), Pragda Big Screen Project (NY); in Larraskito (Bilbao); at Galería Aulenti at the Milan Triennale; and at D/ART/Sydney (Australia).