Aracena, Spain, 1964.

Pedro G. Romero has been operating as an artist since 1985. At present he is developing two ongoing projects: the Archivo F.X and the Máquina P.H and is participating in UNIA arteypensamiento and the PRPC (Plataforma de Reflexión de Políticas Culturales) in Seville. In 1999 he published El trabajo within the project Almadraba, exhibited in Tangier, Tarifa y Gibraltar and then in 2008-09 he acted as curator of de rasgos árabes in Mexico, Argentina, Chile, Brasil and El Salvador. In 2016 he curated Tratado de Paz for the cultural capital DSS2016.  In 2017-18 he 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 Aplicación Murillo: materialismo, charitas y populismo, together with Luis Montiel and Joaquín Vázquez. He also participated in Documenta14 Athens/Kassel. With the Archivo F.X 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: αἴσθησις (2016) in the Museum of San Telmo de Donostia/San Sebastian – and in other spaces throughout the Basque country.

In 2007 he presented Tesauro: Vandalismo 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 F.X.: Silo – as a mode of recapitulation – in the monastery of Silos/MNCARS. In 2010 he exhibited Thesaurus: Murica for 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 31 Bienal 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 F.X 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 F.X.

In Maquina, P.H promotes the Independent Platform of Modern and Contemprary Flamenco Studies ( He is the artistic director for the dancer Israel Galvan and he collaborates with various artists such as Rocio Marquez a Tomas de Perrate. He curated the project Ocana: Acciones, Actuaciones, 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 that investigates the cinema of Val de Omar and the compilation El ojo Partido: Flamenco, Cultura, de Masas y Vanguardias in Athenaica Editions. He is also presenting, together with the architect Maria Garcia, with the project Maquinas de Vivir: Flamenco y arquitectura en la ocupacion y desocupacion de espacios that has been exhibited in the Centre of Madrid and in the Vierreina of Barcelona. Through 2018 and 2019 he will unfold, on a European scale, a project titled forma-de-vida 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.