Aracena, Spain, 1964.

Pedro G. Romero began his journey in art in 1986. At present, he is researching on two main projects:  the Archivo F.X and the Máquina P.H.

He is one of the artists  presenting works at 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. During 2008-09 , he curated de rasgos árabes in Mexico, Argentina, Chile, Brasil and El Salvador.

Later, in 2016 he curated Tratado de Paz for the cultural capital DSS2016.  From 2017-18 he along with Teresa Grandas curated Poesía Brossa for the MACBA in Barcelona.

During 2018-19 Seville city council in collaboration with the artist alongside Luis Montiel and Joaquín Vázquez brought together an exhibition Aplicación Murillo: materialismo, charitas y populismo. He also participated in Documenta14 Athens/Kassel.

With the Archivo F.X he presented works 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 around 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. I

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 Transit.org in Manifesta8 in the region of Muirca in Spain, in dialogue with the north of Africa.

In the recent years, 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. Together with Periferica, he has helped in editing and translating the book of texts titled Los Dineros. In 2018 he was presented in CA2M of Mostoles, the University of Valencia and in the MNAC in Barcelona he exhibited Habitacion, the first of a series of anthologies that portray the close of the work of Archive F.X.

In Maquina, P.H promotes the Independent Platform of Modern and Contemprary Flamenco Studies (www.pieflamenco.com). He is the artistic director for the dancer Israel Galvan and 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. 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 were recently published by the editors Mudito.

In collaboration with the architect Maria Garcia, the project Maquinas de Vivir: Flamenco y arquitectura en la ocupacion y desocupacion de espacios was exhibited in the Centre of Madrid and in the Vierreina of Barcelona.

During the 2018 and 2019 his  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 unfolded on an European scale. His work Las Sabias were portrayed as the publicity images for the XX Bienal de Flamenco in Seville.