Juan Hidalgo embodies the spirit of the avant-garde movement, with his constant striving to eliminate barriers and push back the boundaries of creation.
He originally trained as a musician, but his open-mindedness to creativity turned him into a multimedia artist who feels equally at home with poetry and plastic arts as with music, and who expresses himself through books, texts, musical compositions, postal art, events and performances, objectual art and photography. His versatility as regards materials attests to the paramount importance he lends to the concept in his poetical creations, which are filled with humour, sex, irony and demystification. For Hidalgo genres are something permeable, with the attitude adopted to the creative fact being the important issue. When foregrounding conceptual aspects, any support is just as valid. One might even say he is a mannerist artist.

Juan Hidalgo's biography is full of firsts. He is the first Spanish composer to be invited to the mythical Darmstadt Festivals, the first to compose an electroacoustic work, the founder of ZAJ and the creator of etceteras . His itinerary is unique because he has always been a pioneer.

His work has not received as much attention as it deserves. He has always stood outside art circuits, but in recent times he has begun to be fully understood and appreciated. Pioneers seem fated to wait: letting time do its job, they continue working and thinking as it passes by. That is what Juan Hidalgo does: for him, time is the primordial vehicle of sound, the underpinnings of musical grammar. He has said more than once that any activity, even thinking, is essentially musical. This radical perspective, his search for a language not exclusively related to sound, defines his attitude towards art.