It is as if a complete freedom of knowledge and the consequent infinite poetic space were there, just around the corner, only to be passionately and continuously taken in and put to use. Moreover, modernity, almost at the expense of its own permanence, has shown that the only viable way to survive honourably and coherently is to intermingle poetically with reality, fully implicating ourselves, in order to redescribe the meaning of our existence time and time again.

I wonder if this paradox, shaped by Kafkaesque violence and the definitive and simultaneous discovery of human creativity, is responsible for the revival of the aesthetics of cruelty, a revival I have observed all around me, especially among the younger generations.

I would say it is probably so. In any case, I must admit that I was deeply shocked by the anthropomorphic and violent twist that Lidó ‘s latest works have taken. With the coldness of an operating theatre, death, ecstasy, guilt, self-inflicted injuries and even decomposition and lacerations pervade the dense conjunction of metaphors that activates the exhibition halls.

GLORIA MOURE, Barcelona 1999

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