Barribrossa celebrates its tenth edition this year by paying special attention to one of the most artistic manifestations of popular culture, flamenco. Sebastià Gasch, Joan Miró and Joan Brossa felt great attraction for the undisputable figure of Vicente Escudero, an internationally renowned Spanish dancer who had adopted Barcelona as his home, and who strongly influenced the development of this artistic form. Half way between modernity and tradition, Escudero’s poetics reveal a series of paradoxes on identity. In fact, his identification of flamenco with the Spanish or Andalusian essence became something of a hurdle when Joan Miró and Joan Brossa became interested in the aesthetics of the dance.

Lecture organised by MACBA in the context of Barribrossa 2013.

'¿La guerra ha terminado? Arte en un mundo dividido (1945-1968)', show directed by Pedro G. in the Museo Nacional Centro de Arte Reina Sofía, 2010


Thursday 17 October 2013, 8 pm

Pedro G. Romero (Aracena, Huelva, 1964) is an artist who has been intensely active in numerous disciplines: sculptor, painter, performer, playwright, scriptwriter, etc., as well as literary and art critic, editor, essay writer and an expert on flamenco. The central theme of his work is the investigation and reflection on the image as a point of resistance against time, whether historical, biological, psychological or verbal.

Since 2000 Romero has been working on the projects Archive F.X. and P.H. Machine, centred on iconoclasm and flamenco respectively.

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Gold does not take on any dirt. And gold, just are diamonds, is an exalted material. It possesses such a degree of abstraction that it encounters you –if you use it artistically– on an already exalted level.
James Lee Byars