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DEBUT NYC SOLO EXHIBITION!
ALFREDO ROMERO
VESTIGES OF OUR TIME
See it before it closes!
Last Day is Sunday, May 11
FROM THE OPENING NIGHT - APRIL 3, 2025
Alfredo Romero’s "Vestiges of Our Times" establishes a dialogue between social memory and ephemeral architecture, reflecting on the traces of history left in his home country. Romero work is characterized by a keen interest in translating historical traces into contemporary narratives through innovative archeological techniques that aim to preserve memories of the past. Romero’s art reflects a constant creative quest that transcends boundaries and resonates with audiences on multiple levels.
BIOGRAPHY
Mexico-based artist Alfredo Romero is best known for his collection VESTIGES OF OUR TIMES, a project of artistic experimentation that sets the dialogue between social memory, ephemeral architecture, advertising signs and the passage of time.
He was born in 1974 in Barcelona, Spain, where he studied Fine Arts, Architecture and Art History. Throughout the years, he has held numerous conferences around the world, as well as classes of Interior Design, Window Dressing and Visual Arts. He has a keen interest in translating traces of history in relation with the present and future time. He is in a constant creative quest, without any limits or boundaries that has led him to become the recipient of multiple prestigious awards.
To this day, two books and four DOCUMENTARIES have been made about his creative process. Romero's artwork is currently exhibited in leading museums and art galleries in Europe, Asia, North America and South America.
SELECTED WORK - VESTIGES OF OUR TIMES I 2025
ARTIST STATEMENT
In the last decade of my career, I have made various collections, experimented with different techniques and languages; developing research in creative processes motivated by the places, experiences and sensations experienced.
Currently my work focuses more on the research: Between the limit of the past and the contemporary, that which is in constant transition and encapsulated within a workpiece. This process has led me to focus on the façades of neighborhoods in different cities of Mexico, walls that promoted advertisements, currently deteriorated and with their own character. Trapping it, appropriating it and endowing it with transcendence and perpetuity.
My proposal goes beyond recovering these icons of anonymous lettering that are part of the identity and memory of the 60s and 80s community, with a pop of character to intervene and convert them into a work of art.
The collection "Vestiges of our Times" is a proposal for restoration and conservation, its aesthetics emerges from the convergence of the modern and the old, resisting a categorization within a genre, and inviting the observer to return to a not too distant past.
ROMEROS SERIES
The work of Romero is composed of several series, all based on "Strappos Archeologicas", but with distinct visual and graphic approach and meaning.
DESPIEL
In this collection, Romero distances himself from the usual perception of art as magic. He introduces us to this new series, the result of a different kind of exercise, that of the observer of time. Conceiving the existence as an act of memory, experimenting with the identity as a perpetuos detachment from the skin, facades and costumes. The skin that I inhabit is borrowed. The skins that inhabit me, have been used by those who came before.
STRATTOS
Layers of vestiges strips. What if we moved things around and let chance rearrange them however it seems fit? To split, take apart, put back together, congregate. Here's a different possibility to imagine stories, to turn them into fragments and regroup them with a fresh take. And while some strive for everything to remain the same, immovable and stoic, art encourages us to subvert the seriousness of taxonomies. Another structure is always possible.
DESANDAR EL TIEMPO
The visual testimony of a travel itinerary through the streets of the Mexican Southeast. The artist encourages this chromatic tale, in his commitment to communicate and make aware of what has already been hinted at in his work. The intimate stories behind the signs that he intervenes, the challenges he faces to detach them and work them, those memories someone has shared with him, giving new meaning to a street sign.
MEMORIAS TOPOGRÁFICA
How would a map that registers every single movement made throughout a lifetime look like? If retracing our steps was possible, maybe we would be surprised by how much was left behind... The amount of songs, names, costumes, and innocence spread. Would we be able to resist the temptation to reach for those pieces? Keep ourselves from colecting that part of us that fel off without even noticing it? Sometimes, detachment is what allows our journey to begin.