Aracena, Huelva (Spain), 1964.

In 2024, Pedro G. Romero received the National Prize for Fine Arts.

His work has been shown in venues such as documenta14 in Kassel/Athens (2017) and the Bergen Assembly (2019), where he was also invited as a curator. His work was widely presented at the São Paulo Biennial (2010) and the Venice Biennale, where he was the first representative of the Catalonia Pavilion. He has also had solo exhibitions at the Sydney Biennale (2023), the Coimbra Biennial (2024), the Thessaloniki Biennial (2009), and the Göteborg Biennial (2013). Additionally, he participated in the Medellín Biennial (2007), two editions of the Bienal Sur in Buenos Aires (2019) and Rio de Janeiro (2022), as well as the Venice Architecture Biennale (2023).

The Museo Nacional Centro de Arte Reina Sofía (Madrid) dedicated a retrospective to his work Máquinas de trovar in 2022. The Ca2M in Madrid, the MNAC in Barcelona, and the University of Valencia presented the monograph Habitación in 2018, and the Württembergischer Kunstverein Stuttgart showcased his work in Wirtschaft, Ökonomie, Konjunktur (2010). His projects with Archivo F.X. were shown in Donostia/San Sebastián European Capital of Culture /Tratado de Paz (2013-2016), for which he also served as curator. His work Archivo F.X./Economía, Economía: Picasso was presented at the Picasso Museum in Barcelona in 2017, and Archivo F.X./ Política, La ciudad vacía, Comunidad was displayed at Fundació Antoni Tàpies in 2006.

His works have been featured in important events at the Museu d’Art Contemporani de Barcelona (MACBA), the IVAM in Valencia, the Bilbao Fine Arts Museum, the Musac in León, the CCCB in Barcelona, Santa Mónica in Barcelona, La Panera in Lleida, the Pompidou Museum in Málaga, the CAAC in Seville, the MEIAC in Badajoz, the Kunsthaus in Berlin, Kadist in Paris, the Spanish Academy in Rome, and the Seville Flamenco Biennale, among many others.

Romero has been both a curator and commissioner—roles he enjoys, as they reflect the two meanings of the term, “the one who organizes and the one who takes care.” He has curated exhibitions for institutions such as the Museo Nacional Centro de Arte Reina Sofía, Palau de la Virreina – Centre de l’Imatge, MACBA, the Grand Palais in Paris, the Institute of Culture and Arts of Seville, Museo Patio Herreriano in Valladolid, Centro Federico García Lorca in Granada, Malva in Buenos Aires, and the Museo de la Universidad Autónoma de Ciudad de México, among others. Notable exhibitions he has curated include those dedicated to Vicente Escudero, Helios Gómez, José Val del Omar, José Pérez Ocaña, Gonzalo García Pelayo, Toto Estirado, 4taxis, Darcy Lange, Chema Cobo, and Joan Brossa. In 2024, he presented the exhibition Popular, focused on the IVAM collection in Valencia, expanding his field of work.

In addition to numerous art catalogs and publications, Romero has authored essays and narratives such as Las correspondencias (ed. Periférica), Los países (ed. Periférica), S.I. Sevilla Imaginada (ed. Almuzara),

Los dineros (ed. Athenaica), Exaltación de la visión. Fuentes y vertientes distintas para la lectura de Fuego en Castilla (ed. Mudito & co), Wittgenstein, los gitanos y los flamencos (ed. Arcadia), and El ojo partido. Flamenco Cultura de masas y vanguardias (ed. Athenaica).

Between 1999 and 2019, he directed and produced the project Archivo F.X. Since 1997, he has been working on the Máquina ph project, focused on popular culture. He has also been part of the management team of the UNIA arteypensamiento project at the Universidad Internacional de Andalucía, was a founding member of the Cultural Policy Reflection Platform, and is part of the (pie.fmc) Independent Platform for Modern and Contemporary Flamenco Studies. He directs the Cultura popular y flamenco collection for Athenaica publishing.

As an artistic director and dramaturge, he worked with Israel Galván’s company until 2019. He has also collaborated with Úrsula López, Leonor Leal, Lucía Álvarez La Piñona, Javiera de la Fuente, Rosario Toledo, and the Ballet Flamenco de Andalucía, among many others. He has contributed his artistic vision to productions by Rocío Márquez, El Niño de Elche, Perrate, Proyecto Lorca, Sistema Tango, Sebastián Cruz, María Marín, and Ruído Clavel, among others.

He has directed the films La Pel.licula (2005), Nueve Sevillas (2019), Siete Jereles (2021), de caballos y guitarras (2023), Caracafé en Kazajistán (2024) and is directing the series Lo que va por debajo (2024). The Cineteca de Madrid and the MNCARS are dedicating a cycle to his cinema this 2024 under the title Flamenco, films and videotapes.

 

CV PEDRO G. ROMERO