PEDRO G. ROMERO

Aracena, Spain, 1964.

Pedro G. Romero has been active as an artist since 1985. He currently works in two major venues: the FX Archive and the PH Machine. He participates in UNIA arteypensamiento and the PRPC (Platform for Reflection on Cultural Policies) in Seville. In 1999, he published El trabajo (Work) as part of the Almadraba project, developed in Tangier, Tarifa, and Gibraltar. He is the curator of the project ...with Arab traits in Mexico, Argentina, Chile, Brazil, and El Salvador between 2008 and 2010. He is the curator of the Peace Treaty project for the DSS2016 Cultural Capital. He is the curator of Poesía Brossa, along with Teresa Grandas, for the MACBA in Barcelona. He is also the curator of the exhibition Aplicación Murillo: Materialismo, Charitas y Populismo (Murillo Application: Materialism, Charitas, and Populism) for the Seville City Council, along with Luis Montiel and Joaquín Vázquez. He is a participating artist in Documenta14 Athens/Kassel. With the FX Archive, he has presented, among others, the project La Comunidad vacía (The Empty Community). Politics, (2006) for the Fundació Antoni Tàpies in Barcelona, Economy Picasso: Economy (2012) for the Picasso Museum Barcelona and Pure Violence: a?´s??s?? (2016) at the San Telmo Museum in Donostia/San Sebastián and other venues in the Basque Country

In 2007, he presented Tesauro: Vandalismo en la antigua mosque de Yeni Tzami (Thesaurus: Vandalism in the former Yeni Tzami Mosque) at Heterotopias, di/visions (from here and elsewhere), Thessaloniki, Greece. In 2009, he presented Archivo FX: Silo, as a recapitulation, at the Silos Monastery/MNCARS. In 2010, he exhibited Thesaurus: Murcia for Transit.org at Manifesta8 in the Murcia region of Spain, in dialogue with North Africa. His work has recently been displayed at La Escuela Moderna for the 31st São Paulo Biennial. His work has appeared with Spector Books (Germany) and the publication Wirtschaft, Ökonomie, Komjunktur (Wirtschaft, Ökonomie, Komjunktur), based on the project exhibited at the Württembergischer Kunstverein in Stuttgart. In 2016, as curator, Archivo FX presented Sacer: El martirio de las cosas (Sacred: The Martyrdom of Things) at Espacio Santa Clara in Seville. In 2017, he presented Don Dinero Dos at the Casa Sin Fin gallery in Madrid and published the textbook Los dineros with Periférica. In 2018, he presented Habitación (Room), the first in a series of anthologies that conclude the work of the FX Archive, at the CA2M in Móstoles, the University of Valencia, and the MNAC in Barcelona.

At Máquina PH, he promotes the Independent Platform for Modern and Contemporary Flamenco Studies www.pieflamenco.com. He is the artistic director of flamenco dancer Israel Galván and collaborates with various artists, from Rocío Márquez to Tomás de Perrate, for example. He curated the project Ocaña: Actions, Performances, Activism 1973-1983 for the Virreina in Barcelona and the Montehermoso Art Center in Vitoria. The publishing house Mudito has just released his book Exaltación de la Visión (Exaltation of the Vision) on the Cinema of Val del Omar and the compilation El ojo partido: Flamenco, Mass Culture, and Avant-gardes (The Parted Eye: Flamenco, Mass Culture, and Avant-gardes) in Athenaica Editions. He is currently presenting, alongside architect María García, the project Máquinas de Vivir: Flamenco and Architecture in the Occupation and Vacancy of Spaces, which has been presented at Centro/Centro in Madrid and the Virreina in Barcelona. Between 2018 and 2019, she developed the project "forma-de-vida" (form of life), about the artistic work of flamenco, gypsies, and Roma, for the Bergen Assembly in Norway and the Stuttgart Kunstvereim. Her work Las sabias (The Wise Ones) was featured on the poster for the 20th Seville Flamenco Biennial.

Aracena, Spain, 1964.

Pedro G. Romero has been operating as an artist since 1985. At present he is developing two ongoing projects: the Archivo FX and the Maquina PH and is participating in UNIA arteypensamiento and the PRPC (Plataforma de Reflexion de Policies Culturales) in Seville. In 1999 he published The work within the Almadraba project, exhibited in Tangier, Tarifa and Gibraltar and then in 2008-09 he acted as curator of Arab traits in Mexico, Argentina, Chile, Brazil and El Salvador. In 2016 I curated Peace Treaty for the cultural capital DSS2016. In 2017-18 I curated – together with Teresa Grandas – of Poesía Brossa for the MACBA in Barcelona. In 2018-19 at the request of the Seville city council, the artist prepared an exhibition Murillo Application: materialism, charitas and populism, together with Luis Montiel and Joaquín Vázquez. He also participated in Documenta14 Athens/Kassel. With the Archivo FX he has presented exhibitions such as, La Comunidad vacía, Política, (2006) for the Fundacion Tapies in Barcelona, Economía Picasso: Economía, (2012) for the Museo Picasso in Barcelona and Una violencia pura: a?´s??s?? (2016) in the Museum of San Telmo in Donostia/San Sebastian – and in other spaces throughout the Basque country.

In 2007 he presented Tesauro: Vandalism in the old mosque of Yeni Tzami as part of the exhibition titled Heterotopias, di/visions (from here and elsewhere), in Salonica, Greece. In 2009 he exhibited Archivo FX: Silo – as a mode of recapitulation – in the monastery of Silos/MNCARS. In 2010 he exhibited Thesaurus: Murica for Transit.org in Manifesta8 in the region of Muirca in Spain, in dialogue with the north of Africa. Recently, he has exhibited work at La Escuela Moderna for the 31st Biennial of Sao Paulo. He has appeared in the Spector Books Editorial, Germany in the publication Wirtschaft, Ökonomie, Komjunktur as a result of the Project exhibited in the Württembergischer Kunstverein in Stuttgart. In 2016 as curator of the Archivo FX he presented Sacer: El Martiotio de las cosas in Santa Clara in Seville. In 2017 he presented Don Dinero Dos, in the Casa Sin Fin gallery in Madrid and he has edited – together with Periferica – the book of texts titled Los Dineros. In 2018 he is presenting in CA2M of Mostoles, the University of Valencia and in the MNAC in Barcelona he is exhibiting Habitacion, the first of a series of anthologies that signify the close of the work of Archive FX
In Maquina, PH promotes the Independent Platform of Modern and Contemporary Flamenco Studies (www.pieflamenco.com). He is the artistic director for dancer Israel Galvan and collaborates with various artists such as Rocio Márquez and Tomas de Perrate. He curated the project Ocana: Actions, Performances, Activism 1973–1983 for the Vierreina of Barcelona and the Centre of Arte Montehermoso in Vitoria. The editors Mudito have just released his book titled Exaltacion de la Vision, which investigates the cinema of Val de Omar, and the compilation El ojo Partido: Flamenco, Culture, de Masas y Vanguardias (The Party Eye: Flamenco, Culture, Masses, and Vanguards) in Athenaica Editions. He is also presenting, together with architect Maria Garcia, the project Maquinas de Vivir: Flamenco and Architecture in the Occupation and Desocupacion of Spaces, which has been exhibited at the Centre of Madrid and the Vierreina of Barcelona. Through 2018 and 2019 he will unfold, on a European scale, a project titled way-of-life about the work of art Flemish, gypsy and Roma cultures for the assembly in Bergen in Norway and the Kunstvereim in Stuttgart. His work Las Sabias has been used as the publicity images for the XX Bienal de Flamenco in Seville.