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.

Public Programmes
programespublics [at] macba [dot] cat
Tel. 93 481 46 81



El dedo índice de Vicente Escudero (Vicente Escudero’s Index Finger), by Pedro G. Romero
Lacan for Multitudes: ’Linguisterics’ as an introduction to the Lacan’s basic concepts
Lacan for Multitudes: The notion of the unconscious in the contract between Freud and Lacan.
Lacan for Multitudes: Need, demand, and desire. A critique of therapy
Lacan for Multitudes: Drives and sexuality in Lacan