Wednesday 12.12.2018

Zbyněk Baladrán (b. 1973, Prague, Czechoslovakia) is an author, artist, curator and exhibition architect. He studied art history Univerzita Karlova and at the Academy of Fine Arts, both in Prague. In 2001 he co-founded Display, a space for contemporary art, which in 2007 was transformed into Tranzitdisplay X where he is responsible for the exhibitions program. Together with Vit Havránek he curated “Monument to Transformation”, a three-year long research project on the social and political transformations. He was a member of the curatrorial team (through of Manifesta 8 in Murcia, Spain (2010). He took part in the 11th Lyon Biennial, in Manifesta 5 in Donostia / San Sebastian (2004), in the 56th La Biennale di Venezia (2013) and in MoMA (2015).

Using methodology similar to those used by the ethnographer, the anthropologist and the sociologist, this post-humanist “archaeologist” is digging up the remnants of the not-so-distant past. He is searching for spatial “pockets” where the way of life is reflected with its systems, rules and coincidences; as well as for the objects through which humanity, obsessed with itself, is arranging the image of its past and future.

Circular Defence


Pedro G. Romero (Aracena, Huelva, 1964) graduated in Fine Arts in Seville, the city where he lives and works. He is a highly versatile artist who has worked intensively in many disciplines: as sculptor, painter, performer, dramatist, scriptwriter, etc. besides being a critic of both art and literature, publisher, essayist and expert in flamenco. The central theme of his work is a reflection on, and investigation into, the concept of the image as a point of resistance to time, whether it be historical, biological, psychological time or as reflected in language. His works betray a constant preoccupation with the disappearance of authorship. One might even say that his images and writings seem to be systems of signs that are not human. From 1987 onwards he began to show his series on the atomic bomb. These included El tiempo de la bomba (The Time of the Bomb) at the Sala Unicaja, Malaga, 1993 or El saco de la risa (A Bundle of Laughs) at the Tomas March Gallery, Valencia, 1995 or El fandango de la bomba (The Bomb Fandango) at the Diputación de Huelva, 1996. Since 2000 he has been working on the projects of Archivo F.X. and Máquina P.H. which take as their working material iconoclasm and flamenco, respectively. His work is to be found in collections such as that of MACBA, of the Fundació La Caixa, the Reina Sofía National Art Museum, the Alava Museum of Fine Arts, the Diputación de Granada and the Andalusia Centre for Contemporary Art.