Connexion
S'inscrire
FR
Nicolás Romero Escalada 1985
Vit à Madrid. Travaille dans Madrid.
Représenté par:
Marian Cramer Projects
Nicolás Romero – The Saint Bernard and the Virgin of Alonso Cano
Nicolás Romero (Buenos Aires, 1985) began his artistic journey twenty years ago, signing as Ever and making graffiti in the streets of his native Buenos Aires. At the time, the city was emerging from the shadow of an eight-year military dictatorship, and street art became a powerful tool for reclaiming freedom of expression. Over time, Romero moved away from graffiti to develop a mural practice that plays with the symbolic charge of imagery in public space. His work explores how meaning is shaped and manipulated through history, questioning the role of art as a vehicle for power, belief, and collective memory.
For Art Rotterdam, Romero presents The Saint Bernard and the Virgin of Alonso Cano, a conceptual investigation that merges historical iconography with contemporary skepticism. The project was sparked by a painting he saw at the Prado Museum a decade ago—Alonso Cano’s depiction of the Virgin Mary miraculously feeding Saint Bernard three drops of her milk, granting him the gift of eloquence.
Fascinated by this religious narrative, Romero sought to examine its plausibility through a multidisciplinary approach. He consulted a gynecologist, who explained that while milk ejection can occur in early breastfeeding, it would be unlikely in Cano’s depiction, where the infant Jesus appears older. A naval engineer conducted precise calculations, determining that the trajectory of the milk would be physically impossible at such a distance. Lastly, his psychologist introduced him to lactophilia, the phenomenon of adult men desiring breast milk, adding an unexpected psychological reading to the image.
Through this humorous yet meticulous inquiry, Romero challenges how religious and historical imagery is constructed and accepted. The Saint Bernard and the Virgin of Alonso Cano turns a canonical scene into a contemporary discussion on faith, science, and artistic interpretation—questioning where belief ends and fiction begins.
Romero's training in painting and drawing began in 1999 with Ariel Olivetti and between 2007 and 2008 he studied at the Rojas Cultural Center. In 2014 he was selected for the Facebook artists' program and from 2019 he participated in the study method "Work Clinic" with the artist Diana Aisenberg. He has had solo exhibitions at the gallery The Diogenes Club in Los Angeles, at Varsi Gallery in Rome, Libertad Gallery in Queretaro or Dinámica Gallery in Buenos Aires, besides having participated in other group shows in France, Italy, Netherlands, South Africa, Austria, Australia, Mexico, Spain and the United States. His work has been selected in cultural institutions such as the Amalita Fortabat Museum and Palais de Glace in Buenos Aires, the Macro Museum in the city of Rosario or the Biennial of urban interventions in the CCEC and the Caraffa Museum in Córdoba, Argentina.
Nicolás Romero (Buenos Aires, 1985) began his artistic journey twenty years ago, signing as Ever and making graffiti in the streets of his native Buenos Aires. At the time, the city was emerging from the shadow of an eight-year military dictatorship, and street art became a powerful tool for reclaiming freedom of expression. Over time, Romero moved away from graffiti to develop a mural practice that plays with the symbolic charge of imagery in public space. His work explores how meaning is shaped and manipulated through history, questioning the role of art as a vehicle for power, belief, and collective memory.
For Art Rotterdam, Romero presents The Saint Bernard and the Virgin of Alonso Cano, a conceptual investigation that merges historical iconography with contemporary skepticism. The project was sparked by a painting he saw at the Prado Museum a decade ago—Alonso Cano’s depiction of the Virgin Mary miraculously feeding Saint Bernard three drops of her milk, granting him the gift of eloquence.
Fascinated by this religious narrative, Romero sought to examine its plausibility through a multidisciplinary approach. He consulted a gynecologist, who explained that while milk ejection can occur in early breastfeeding, it would be unlikely in Cano’s depiction, where the infant Jesus appears older. A naval engineer conducted precise calculations, determining that the trajectory of the milk would be physically impossible at such a distance. Lastly, his psychologist introduced him to lactophilia, the phenomenon of adult men desiring breast milk, adding an unexpected psychological reading to the image.
Through this humorous yet meticulous inquiry, Romero challenges how religious and historical imagery is constructed and accepted. The Saint Bernard and the Virgin of Alonso Cano turns a canonical scene into a contemporary discussion on faith, science, and artistic interpretation—questioning where belief ends and fiction begins.
Romero's training in painting and drawing began in 1999 with Ariel Olivetti and between 2007 and 2008 he studied at the Rojas Cultural Center. In 2014 he was selected for the Facebook artists' program and from 2019 he participated in the study method "Work Clinic" with the artist Diana Aisenberg. He has had solo exhibitions at the gallery The Diogenes Club in Los Angeles, at Varsi Gallery in Rome, Libertad Gallery in Queretaro or Dinámica Gallery in Buenos Aires, besides having participated in other group shows in France, Italy, Netherlands, South Africa, Austria, Australia, Mexico, Spain and the United States. His work has been selected in cultural institutions such as the Amalita Fortabat Museum and Palais de Glace in Buenos Aires, the Macro Museum in the city of Rosario or the Biennial of urban interventions in the CCEC and the Caraffa Museum in Córdoba, Argentina.
Oeuvres d'art
Articles
Médias
Points forts
Recommandations
Collections
Expositions
Position sur le marché
CV
Oeuvres de Nicolás Romero Escalada
expositions
CV
Nicolás Romero (Buenos Aires, 1985) began twenty years ago signing
Ever and doing graffiti in the streets of his hometown, a city that was living
the hangover of a military dictatorship that had lasted eight years and that
at that time understood street art as an expression of freedom.
Currently, Nicolás has been developing his studio work around the
"Naturalezas Muertas", with which through the union of elements he has
found a way to use the image as a form of social reflection and
anthropological research. He works through traces he finds in his
immediate context, the result of the social fabric and symbols born of the
coexistence of social, cultural and economic factors. From soft drink
bottles to religious prints, political symbols, contemporary icons or
something as seemingly innocent as fruits and vegetables are part of these
compositions that he uses as a bridge to talk about more complex realities.
It is precisely this confluence between still lifes and that connection with his
childhood and pushed by times in which society was modifying its
behaviors in the face of a global pandemic, which leads him to give
architectural form, specifically gundam, to these still lifes, giving life to
beings dressed in standardized consumer elements - anonymous and
global identities - through their bodies.
Romero has presented solo exhibitions at Ochi Projects Gallery (Los
Angeles), The Diogenes Club (Los Angeles), Galeria Varsi (Rome), Galería
Libertad (Querétaro) and Dinámica Gallery (Buenos Aires). He has
participated in group shows at Studiocromie (Italy), Marian Cramer Projects
(Amsterdam), Fir Gallery (Shanghai) or Cerquone Gallery (Madrid), and in
other countries such as France, South Africa, Austria, Australia, Mexico
and the United States. He has done illustrations for the printed versions of
New York Times Magazine and ZEIT Magazine.
His work has been selected in cultural institutions such as the Santander
Foundation, Amalia Fortabat Museum and Palais de Glace, all three in
Buenos Aires, the Macro Museum in the city of Rosario or the Biennial of
urban interventions in the CCEC and the Caraffa Museum in Cordoba,
Argentina.
Ever and doing graffiti in the streets of his hometown, a city that was living
the hangover of a military dictatorship that had lasted eight years and that
at that time understood street art as an expression of freedom.
Currently, Nicolás has been developing his studio work around the
"Naturalezas Muertas", with which through the union of elements he has
found a way to use the image as a form of social reflection and
anthropological research. He works through traces he finds in his
immediate context, the result of the social fabric and symbols born of the
coexistence of social, cultural and economic factors. From soft drink
bottles to religious prints, political symbols, contemporary icons or
something as seemingly innocent as fruits and vegetables are part of these
compositions that he uses as a bridge to talk about more complex realities.
It is precisely this confluence between still lifes and that connection with his
childhood and pushed by times in which society was modifying its
behaviors in the face of a global pandemic, which leads him to give
architectural form, specifically gundam, to these still lifes, giving life to
beings dressed in standardized consumer elements - anonymous and
global identities - through their bodies.
Romero has presented solo exhibitions at Ochi Projects Gallery (Los
Angeles), The Diogenes Club (Los Angeles), Galeria Varsi (Rome), Galería
Libertad (Querétaro) and Dinámica Gallery (Buenos Aires). He has
participated in group shows at Studiocromie (Italy), Marian Cramer Projects
(Amsterdam), Fir Gallery (Shanghai) or Cerquone Gallery (Madrid), and in
other countries such as France, South Africa, Austria, Australia, Mexico
and the United States. He has done illustrations for the printed versions of
New York Times Magazine and ZEIT Magazine.
His work has been selected in cultural institutions such as the Santander
Foundation, Amalia Fortabat Museum and Palais de Glace, all three in
Buenos Aires, the Macro Museum in the city of Rosario or the Biennial of
urban interventions in the CCEC and the Caraffa Museum in Cordoba,
Argentina.
Abonnement gratuit au magazine
Articles, interviews, spectacles et événements. Livré dans votre boîte aux lettres chaque semaine.