New ways of visual communication
D aniel Rom e ro N i e t o Painting-Sculpture-Etching
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Fr om p a int ing t o engra ving and f rom engraving to s culpture i s t he med ium of ex p ress ion that I am exploring. The selection provides an excellent overview of the d ev elop t a nd t he cha l lenge that I f ace as an artis t and s cient ist . I' m int erest e d in the creation proces s of the o rga nic form t ha t com es f rom the uncons cious cognition. T h e p resent work is a s election of artwork carried out in d ifferent workshop s in Europe and A merica f rom 1998 until 2 017 : "S a nt a F e," Mexico C ity; "P arc Guell" BarcelonaS pa in; "E t ching L a b " Tries te- Italy, "A driano Berengo Studio" M u r a n o - I t a l y a n d " M a r i e n b o r g v e k s t d e r " i n Tr o n d h e i m N orwa y.
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New ways of visual communication
D aniel Rom e ro N i e t o D A R O N I
D a ni e l R o m e r o N i e t o D A R O N I
The Nomad LAB-Space is a platform that works as a knowledge production box, where converge multidisciplinary fields. In which “Experimentation, Reflection, and introspection, as well as learning from the experience” are the tools of the research process.
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I N D E X i. Biography ii. Artist Statement iiii. Research Statement iv. Artistic projects a) The Elements of the last minute b) Anthropomorphic Elements c) The Key of the Universe “Water and Sun” d) The Origen of the Universe “Chaos @ Cosmos” v. CV
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B i o g r a f y I born in 1980 in Mexico City. I have lived a decade in various cities in Europe such as; Trieste-Italia Barcelona-Spain, and Trondheim-Norway. Since childhood, I used to live with stone and marble quarry in northern Mexico, starting an intimate relationship with the shapes, patterns, and structures in the natural materials. I have explored the painting from a very early age. My great passion for the matter and materials germinates of 3 generations of builders in the family, which prompted me to graduate as an architect. My curiosity to know the matter in depth led me to obtain a master's and a doctorate degree with honors in Materials Science from the National Autonomous University of Mexico - UNAM. Parallel to my career as a scientist continued to explore the abstract form through painting, sculpture, etching, and photography, which were essential tools for my study in science and my philosophy of life. I conceive art as a scientific means to investigate reality and the human being; How perceives, creates and communicates. The primary interest of my research is to explore the potentials of the human nature through creative practice. At this moment, I live and work as a researcher through the arts in Trondheim-Norway. I am a member of artist’s societies, among others: The Society for artistic research "SAR," International Association of visual artists affiliated with ONG-UNESCO "IAA," Association of Visual Artists in Mexico "ARTAC – AIAP." International contemporary art Trieste "Gruppo78" as well as Kusntforening Trondheim. My pictorial and theoretical sustains a series of publications and seminars in the fields of materials science, and about the creative process, among others: Decoding postures of art, science, and technology as a research process, organized by CARU | Contemporary Arts Research at the University of Oxford. The artwork that I have developed is part of public and private collections as; Andrea Pontarolo - Italy, Art Gallery Rectory at the University of Trieste, Eduardo Lorenzotti - Barcelona and José Pinto - Mexico City.
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Artist Statement I have identified "the excessive specialization of knowledge and the misuse of technology today," as the possible cause of the transformation in the way we think, perceive and create. I wonder; How to activate that part that human been is mislaying? Consciousness… To this end, I propose and develop a Poetic-theoretical model of perception-creation [Daniel Romero Nieto, Morphogenesis as Superstructure, 2015]. Blending the scientific methodologies with the artistic practice arousing; Introspection as a research instrument that not only enhances the process of creation but also stimulates the quality of life. The philosophy, which I develop in artistic practice, emerges from introspection and constant reflection throughout my life. Exploration in the visual arts and my training as an Architect and Scientist create my holistic observation and arouse my interest in the construction/deconstruction of reality, where I investigate the object in space in it’s "internal structure and its constituent parts at different scales.” The creative process plays the fundamental role in this research. This exercise begins with setting down the mind and experience non-thinking process. Letting the automatic impulses of instinct, absent from logic, unmodified by knowledge or reason ascends to the surface. Natural, primitive act are the beginnings of an active imagination, which allows penetrating in the processes of the unconscious mind. I become an interlocutor between what I discover on the canvas and the viewer. Uncertainty and improvisation are essential for my work, but freedom and space are the main element in my artistic practice. My atelier functions as a scientific laboratory, in which I design my pictorial materials and does experiments with a range of source materials used, such as; wood, glass, aluminum, metal, and fabric. I hanker to decode my language and thereby convert hypotheses and models into a possible one; "Holographic Aesthetic Theory." Now, I am working on the expansion of the digitalization and immersive installations to diffuse the relationship between the viewers - artwork, engage the audience and amplify their perception within the work. The significance of the work completely changed by their scale.
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Fig 1. Morphogenesis as Superstructure is a model of thinking that is engaged to know where come from the creative form. What is the contribution of social, psychological and biological factors in the creative form? Morphogenesis: The orgin of the form - Superstructure: The production process.
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Research Statement This artistic and research project is accompanied by a triad of books carried out in 2015, that’s include the artwork since 1998 to 2015 as a result of an intensive reflection to reveal the bridges and multiple connections existing between the scientific field and the world of artistic creation. [Daniel Romero Nieto,[1-3] Morphogenesis as Superstructure, 2015]. The Morphogenesis project is articulated around a triple discursive axis. The first, “The Origins of Creativity”, appears as a meeting point between art & science. The second, “The Origins of the Universe Chaos - Cosmos” is offered as a result of the implementation of a work of art which adopts ideas from the field of Physics, namely the Chaos and Cosmos Theory, as evidences of the first reading into the pictorial works. The third part, “The Origins of Plastic Form”, displays the first outcomes of a research on the origins of form regarding the thought processes at play in the act of creation. [Daniel Romero Nieto, [1-3] Morphogenesis as Superstructure, Museo Ugo Cará, Italia, 2015]. As a result of this project, I am currently developing a transdisciplinary research project between neuroscientists, psychologists, and artistic practice, that sets out to explore, analyze and work the process behind the improvisation as a creative act in visual arts using; engraving, sculpture, and paint as an artistic medium. Don’t think too hard "Use the Brain" Improvisation as a way of learning. Consists in deconstruct the improvisation act at different levels; from the fundamental aspect up to the experience trough it. This research trough art attempts to contextualize the spontaneous act in the process of; production, perception and communication. And with this in mind, developing new strategies to learn from the creative visual development, using cognitive unconscious process as tools to construct knowledge. In the last twenty years has been an extraordinary understanding expanding and finding new answers in the field of neuroscientific cognitive psychology. For the fact of the advances in technology, scientists have the possibility of identifying and comprehend the neural mechanism activation under specific stimuli, leading to re-think the way in which we perceive, produce and process the information. Many of the research findings concern the functions of the brain and the unconscious and conscious minds. Cognitive Unconscious, defined by Richard Restak[4] “Thinking without conscious effort,” is one example of this new thinking. That belongs to the automatic process of the brain. Moreover, the unconscious is now known to have an information-processing capacity that is more than two hundred thousand times greater than the ability of the conscious mind[5] If we take into consideration this potential together with a memory storing data, and the emotional state those becomes a central part of artistic creativity. Since the automatic response of expression such as; composition visual art, writing, and thinking, has been, govern and evolved in all my life. Spontaneous action without thinking and rezoning goes beyond the creative act has become a natural and automatic behavior in my life. Therefore, I argue that this proposal in the spontaneous action could reach to contributing understanding new ways of learning through the cognitive unconscious; in which perception, production, and communication are correlated it. In short, taking the experience previews gained in art and science attached to exploring the potentials, possibilities, and capabilities from the cognitive unconscious could open new forms of learning and hence building knowledge, which no longer belongs only to the academy context instead to expand in the social context, in the diary life. The research project has two overlapping aims: One is to explore the fundamentals and potentials of “improvisation” in visual production, perception and communication, where the correlation between them is predominant. While the other is develop strategies to learn and build Knowledge from the visual artistic process that could transpose from the research to the society.
Research questions ¿? Would be possible to reveal the unseen forces behind the improvisation? What would happen if these unseen forces could be correlating in new ways or levels of communication? Would be possible to communicate beyond the conscious state of mind?
__________________ [1-3] [4] [5]
Daniel Romero Nieto, Morphogenesis as Superstructure, The origin of art and science, The origin of the Universe, and Poetic and theoretical model, self-publishing, 2015. Richard Restak, The Naked Brain: How Emerging Neurosociety is Changing How We Live, Work, and Love (New York: Harmony Books, 2006. Ap Dijksteruis, Henk Aarts, and Pamela Smith, “The Power of the Subliminal: On Subliminal Persuasion,” in The New Unconscious, eds. James S. Uleman, Ran R. Hassin, and John A. Bargh, 82 (New York: Oxford University Press, 2005).
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Artistic Projects
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The elements of the last m i n u t e (2015-2016)
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This piece is a gift to science, to expand my rational vision and allow observing and delimiting my inner chaos in the composition. As did the Russian Chemist Dmitri Mendeleyev, who discovered the underlying pattern to form the Periodic Table; I borrowed the form of the periodic table, to the group in an individual composition The Elements of the last minute.
The Elements of the last minute 2015-2016 Mural painting 630 x 290 cm, 94 pieces, oil and acrylic paint, and engraving ink on ceramic tiles as support. Trondheim-Norway
The Elements of the last minute 2015-2016 Detail of one pice Trondheim-Norway
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The mural consists of 94 pieces; each piece is made of oil, acrylic and vinyl paint; water inks, etching oil and lacquers on ceramic tile, and microparticles, gypsum, resins and binder to give relief volume, besides German ceramics were used in three-dimensional pieces. The uncertainty was the central element in the creation, not chained me to know where I was going, what I was passionate about, was to discover where I arrived. Capturing in each part of the mural that mental and emotional state of the time. After the experimentation, I explore the possible interpretations in the composition.
The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-Norway
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The evolution of the universe has left us to see that if we represent the last minute of the cosmic calendar, everything that we have evolved; loves, wars, knowledge, etc., occupies time and a tiny space in comparison to the Cosmos. In this little box are all the emotions, collective consciousness and with it, the evolution of the metamorphosis of forms and structures becoming more and more complex. In this sense, I rebuilt my structures such as poems, which are full of different meanings. I perceive structures and forms as I see words; these can be bent, mix and match, as you want. For me, the structures and forms are an uncertain connection that resonates between mind and matter, and these, in turn, create their language. My intention as an artist is to build my grammar, where the passage of time, the vocabulary will be managed to create networks of meaning different.
The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-Norway
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The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
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The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
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The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
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Each work is an experiment that explores various forms of communication through visual images that are discovered and materialize as tomographic reconstructions "image processing by sections" of my interior, those images, are apprehensive, emotional or aesthetic, unveiling the best or the worst of me, as an entity in constant evolution.
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The Elements of the last minute 2015-2016 Detail view of one pice Trondheim-NorwayÂ
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Anthropomorphic E l e m e n t s (2015)
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Beyond the primitive form is; “where the form begins to speak for itself”, in that sense the artist is no more than an interlocutor between form and the creation. This forms born, between the connection of the intuition and matter. This project is a product of the continuous exploration of the transformation of the organic-matter form. These works are part of the evolutionary stages of the formal study of patterns and structures guided by instinct, by mental and emotional states of time and place.
Dynamic gesture 2015 Fine baked clay sculpture High 17 cm Trondheim-Norway
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After developing the mural "Elements of last minute" and the project "The key of the Universe" in which one of the objectives was the scaling of the work, to put the viewer to immersed works. In addition to the scalability of the pictorial process through different surfaces and materials; The patterns, structures, and forms created began to emerge and evolve, moving from; painting to relief painting and thereby taking on a life of its own; From sculpture-painting to sculpture. In this phase, a new light emerges in the creative process; which consists of the perception of the resonance between the creator and the artwork "The form comes alive and begins to communicate by itself."
Liberation from suffering 2015 Clay sculpture High 20 cm Fine baked clay sculpture with glazing finish Trondheim-Norway
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The interpretation of the first reading of the artwork reveals human characteristics and qualities to the animals of other species, objects or natural phenomena. This process is an interesting composition of the form of personification through the unconscious. Where the creation initiates with automatic impulses of the Instinct, absent from logic, unadulterated by knowledge and reason; Natural, primitive act are the beginnings of an active imagination, that allows penetrating in the processes of the unconscious mind.
Resignation 2015 Fine baked clay sculpture High 19 cm Trondheim-Norway
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Anthropomorphic couple 2015 Fine baked clay sculpture High 15 cm Trondheim-Norway
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Emotional talk 2015 Clay sculpture High 17 cm Fine baked clay sculpture with glazing finish Trondheim-Norway
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The battle 2015 Fine baked clay sculpture High 17 cm Trondheim-Norway
The forgiveness 2015 Fine baked clay sculpture High 17 cm Trondheim-Norway
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T h e Key o f t h e Universe (2013-2017)
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In this ongoing project "The Key to the Universe" mused about freedom as an element of resonance with nature, which is present in all three phases of creation of my work: Pre-process; freedom in the observation of nature at different scales and phases of matter. Creative process; freedom as the intimate need of the human being, and in the post-process of analysis and synthesis; freedom as formal-aesthetic appearance. Geographical change introspection from Mexico City to Trondheim-Norway, where live and work now. To live surrounded by rivers, lakes, fjords in extreme temperatures around -15° C, in addition to the absence of 7 months of sun, darkness, this contrast climate change and culture was the source of inspiration of this work. The sun and the water are the germ of life for every human being. However, to live with them all the time, as in the case in countries close to the equator, it raises awareness of the importance of each of them in our daily life.
LMicroscopic water creatures 2014 Plaster reliefs and mixed painting of oil, acrylic, and engraving ink on canvas. 100 x 100 cm Trondheim-Norway
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I borrow the water in nature as an essential element of life, to reflect on the freedom. I make an analogy between the elements of the creation of nature and the artist; nature serves the role of the surface in space "canvas," the water as pictorial material "Painting" and the forces of the environment (temperature, humidity, the wind, pressure) as the creator "The artist." The states of matter; solid, liquid, gas as well as the variation of atmospheric temperatures, the force of the wind, the time and freedom, are the elements in which nature works to the creation of patterns, structures and forms ephemeral. These features have been observed and documented in the different expeditions in the 2014 - 2016 "Røros" by its geographical position is one of the coldest places, unique in Norway.
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Fragments of the earth viewed from space 2014 Plaster reliefs and mixed painting of oil, acrylic and engraving ink on canvas. 60 x 120 cm Trondheim-NorwayÂ
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The works are part of the transformation of patterns and structures where there are no rational actions, I let myself go by my instinct, mental and emotional states of that time and in that place, these forms reveal an in-depth interpretation of the water.
Inner Nature 2017 Plaster reliefs and mixed painting of oil, acrylic paint, and engraving ink on canvas. 134 x 185 cm Trondheim-Norway
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Micro-fragments from earth, space view 2014 Plaster reliefs and mixed painting of oil, acrylic paint, and engraving ink on metal. 32 x 100 cm Trondheim-Norway
Glaciers from space 2013 Plaster reliefs and mixed painting of oil, acrylic paint, and engraving ink on metal. 40 x 100 cm Trondheim-Norway
Water force field 2013 Plaster reliefs and mixed painting of oil, acrylic paint, and engraving ink on metal. 32 x 100 cm Trondheim-Norway
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Top-down view of water landscape 2015 Plaster reliefs and mixed painting of oil, acrylic paint, and engraving ink on canvas. 134 x 185 cm Trondheim-NorwayÂ
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The Origin of the Universe Chaos @ Cosmos (1998-2013)
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We are locked inside of atomic structure, not because of its size but because of its uniqueness, because out of the universe that we perceive there is another larger universe. The microscopic universe is a small version of the macroscopic universe, only that the visual spectrum of the human being is very limited in order to appreciate it. When our inner universe is connected with the outside universe, it is here, where things are rediscovered, as Octavio Paz manifests in the language of the Cosmos; if the universe is a text, or tissue of signs, is governed by rhythm, the world is a poem; in turn, the poem is a world of rhythms and symbols. (Los hijos de Limo, Barcelona, 1974, p. 95). The universe is aesthetically structured; my role as an artist and scientist is to find out.
Gigant star “Sanduleak 69-202” 2008 Mixed technique of oil, acrylic paint on wood r = 90 cm Mexico City
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In this artistic research I propose to announce poetic way; The origin of the Universe Chaos - Cosmos, which are intended to sensitize the scientist with the art and inspire the artist with the science of the cosmos, emphasizing the vision of the curios-creativity. This project is a proposal of artistic work that invites to penetrate the transformation of matter, full of energy, strength, and integrity. Borrow Some of the scientific conceptions of the area of physics; the theory of Chaos and Cosmos, as the manifest of the first reading of the pictorial works where the integration of empirical knowledge and intellectual about the theories that describe the universe gave the guideline to put forward a personal interpretation of the work.
Natural Birth 2012 Etching technique into monoprint 50 x 60 cm Trieste - Italy
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The intuition as a tool of knowledge expansion is the one that governs that thin thread between what we know through our experience of what we project that is likely to be, without having to follow the same steps. Intuition is the way that frees us and strips us of the mechanisms of thought with the scientific method and intellectual power, opens the door to the existence of other possibilities. To be able to cross that subtle line between one and other, we need intuition to integrate chaos and the cosmos into our way of perceiving and creating, altering our evolution and increasing our consciousness as a human being. This series of works are a selection of 98 - 2013 production, the integrate different residences, starting by Painting in the workshop, Mexico D.F, Painting Workshop, Barcelona Spain, Glass sculpture Murano-Venice and Etching TriesteItaly. The underlying goal was the exploration of different avenues of experimentation with materials, trying to appropriate the technique to transcribe their language.
Self-portrait from the unconscious 2012 Etching technique into monoprint 50 x 60 cm Trieste - Italy
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Beyond the conscious mind 2012 Etching technique into monoprint 60 x 80 cm Trieste - ItalyÂ
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The Observer 2012 Murano glass sculpture with cupper structures and stainless steel 150 x 170 x 60 cm Berengo studio, Murano-Italy
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“In a night of Shadows comes the light of hope, leaving to see the inside of a typhoon, modeling the transformation of matter; solid, liquid and gas, the awakening of anthropomorphic forms, human qualities, objects and natural phenomena, with desire to go out from where they had been asleep at the bottom of the sea for so long”
The awakening of anthropomorphic forms 2012 Etching technique into monoprint 30 x 50 cm Trieste - Italy
The images are a portrait of the evolution of these forms who sleep in the mental processes of the unconscious. This work came from previous residencie when I lived in Italy in the laboratory of an engraving of Trieste by the guidance of Vecchiet Fran. I felt the potential of the technique for the development of new ways of expression, surfaces that could function as a support and roles of stamping. The great freedom in the design of the surface and the decomposition in the embedding of the color of the inks in the wide variety of mechanical or chemical techniques, increasingly potentiate the process. Correlate what I see, what I do what I live; in meditation, in science and what I live in artistic practice. Three paths of knowledge that arrive at the same point, the origin of things. It is noted objectively as a flow of experiences where they are correlated and generate comprehensive knowledge, which it would be difficult to see with only one of them.
The game of uncertainty in my work is essential… It does not seduce me where I'll rich, what I am passionate about is discovering where it arrived
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Thinking Mind 2012 Etching technique into monoprint 60 x 80 cm Trieste - ItalyÂ
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Quantum Gravity 1999 Plaster reliefs and mixed painting of oil, acrylic and engraving ink on glass 40 x 30 cm
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Mind-altering exprience 2012 Etching technique into monoprint 50 x 60 cm Trieste - ItalyÂ
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Meditating 2012 Etching technique into monoprint 40 x 50 cm Trieste - ItalyÂ
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The game of uncertainty in my work is essential… It does not seduce me where I'll rich, what I am passionate about is discovering where it arrived
DARONI Kunstverksted: Fogdenget 12. Trondheim-Norway Cell: +47 98182844 e-mail: alit_3@yahoo.com.mx daroni.art@gmail.com
www.daroni.net Facebook / Twitter / Instagram
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Daniel Romero Nieto / CV DARONI Kunstnerverksted Fogdenget 12. Trondheim-Norway Cell: +47 98182844 alit_3@yahoo.com.mx Personal Web: www.daroni.net
Education 2016-2017 1998-2017 2007-2010
2005-2007 2005- 2005 1998-2004 1994-1998 1991-1994
Diploma of Professionalization in visual art, online specialization at Node Center for Curatorial Studies. BerlinGermany. Praxis and Self-education in visual art; hands-on and theoretical courses of different media, see below. Ph.D. In Chemical Engineering in the field of Computational chemistry in polymer synthesis. He graduated with honorable mention and postulated for the highest degree of academic excellence “Alfonso Caso medal.” In Universidad Nacional Autónoma de México UNAM. Master of Civil Engineering. Development of composite nanomaterials applied to Architecture. In Universidad Nacional Autónoma de México UNAM. Specialization in Financial Analysis and Evaluation of Investment Projects. In Universidad Nacional Autónoma de México UNAM. Bachelor in Architectural Engineering, in the field of Identity and Urban Design. In Instituto Politécnico Nacional - IPN, México. Centro Universitario Grupo Sol, (Art) Mexican Educative Center CEM, México, College (Art) with highest degree of academic excellence and winner of the gold medal to the best student of the generation.
Residencies and interchange research 2012 2011 2007
Residence in Franco Vecchiet Lab of etching technics, Trieste – Italy. Residence in BERENGO Gallery, Murano - Venice, Italy, Glass sculpture. Interchange research in Architectural and Art materials at the Polytechnic Institute of Cataluña, Barcelona-Spain
Solo exhibitions 2106 2015 2015
Morphogenesis as Superstructure, Retrospective exhibition “Anthropomorphic elements” beyond the primitive forms. Marienborg Kunsterverkteder MTK, Cecilienborgvegen 1, 7018 Trondheim-Norway. Chronicle of art@science, Trondheim-Norway. Marienborg Kunsterverkteder MTK, Osloveien 14, 7018 Trondhei Norway. Morphogenesis as Superstructure, “From the beginning” Modern Art Museum Ugo Carà in Muggia Trieste, Italy, Curated by Maria Campitelli.
Group Exhibitions 2017 2017 2017 2017 2016 2016 2016 2016 2015 2015 2015 2015 2015 2014 2013
2012 2011
Medlemsutstilling, Kunstforening, Trondheim-Norway Medlemsutstilling, Heimdal Kunstforening, Trondheim-Norway Cecilienborg Utstilling, Trondheim-Norway Set of exhibitions of Art@Science and Biotechnology, International Contemporary Art Bridge between Italy and Mexico, San Luis Potosi, Museo del Ferrocarril. Set of exhibitions of Art@Science and Biotechnology, International Contemporary Art Bridge between Italy and Mexico, San Luis Potosi, Museo de la Mascara. Medlemsutstilling, Heimdal Kunstforening, Trondheim-Norway Art@Science and Robotica, International exhibition , Trieste-Italy Trondheim open, Atelier-Gallery Marienborg kunstnerverksteder, Trondheim Norway Medlemsutstilling, Heimdal Kunstforening Trondheim-Norway Art@Science and Biotechnology, International exhibition. Trieste-Italy Next, Exhibition, BIOLOGOS the future of life. Trieste-Italy Elevutstillinga Heimdal Kunstforening, Trondheim-Norway Trondheim open, Atelier-Gallery Marienborg kunstnerverksteder, Trondheim Norway Medlemsutstilling, Heimdal Kunstforening Trondheim-Norway Set of Exhibitions, International Contemporary Art Bridge between Italy and Mexico, Oaxaca-Mexico (Sculptor space, La TELARAÑA, and cultural center La CALERA) and Coahuila Torreon-Mexico, (Arocena Museum), Curated by Maria Campitelli. http://www.museoarocena.com/exhibiciones/pasadas/2012-2013/gruppo-78/ Muestra colectiva dell’Acquaforte Incisore sieme Trieste. Civic Museum of civilization Trieste – Italy, Curated by Franco Vecchiet. Lo stato dell’arte, Friuli Venezia Giulia, 54° Biennale d’Arte, Magazzino 26, Trieste. Curated by Vittorio Sgarbi.
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Publications 2018 2018 2017 2016 2016 2015
Decoding Postures of Art, Science, and Technology as a research process, in progress. The Beginning of the Universe, “Chaos and Cosmos”, Journal of Artistic Research (JAR) in progress. From Humanism to the Age of Cybernetics, in progress. Book of Art-Science, and Biotechnology; Trieste – Italy. Editor Rubbettino, Trieste. (Pag. 29, 30, 99,100) Book of Art-Science, and Biotechnology; Trieste – Italy. Editor Rubbettino, Trieste. Contribution; Article of Art and Science. (Pag 55-57) Books-Trilogy Art@Science: Morphogenesis as Superstructure, 1st Edition, Trieste – Italy, Self-edition., Italian Language,
2013 2011
ISBN 978-82-303-2907-8. Book 1 The Origin of Art@Science. Book 2 The Origin of the Universe “Caos-Cosmos.” Book 3 Theoretical – Poetic Multiscale model of perception-creation Catalog-Book “International Contemporary Art bridge between Italy and Mexico” (Pag 45, 99). Catalog-Book Lo stato dell’arte, Friuli Venezia Giulia, 54° Biennale d’Arte, Magazzino 26, Trieste. (Pag 86).
Conference Proceedings 2018 2017 2017 2017 2016
THE SWISS BIENNIAL ON SCIENCE, TECHNICS + AESTHETICS, The enigma of the human consciousness, Lucerne, January 20. Transpositions From science to art (and back), Stockholm, October 4 to 6. The 8th International Conference on Artistic Research in Helsinki on 28 & 29 April at the Theatre Academy in Helsinki, Finland. Research Catalogue workshop for potential contributors in Helsinki at Theatre Academy, April 27. Decoding Postures of Art, Science, and Technology as a research process; Organized by CARU | Contemporary Arts ReSearch Unit. Sunday, 4th December 2016, Location: Chakrabarti Lecture Theatre, Gipsy Lane Campus, Oxford Brookes University, Oxford. OX3 0BP. Oral contribution.
Another relevant project 2016 2016 2014
Assistant Artist for Meta.Morph. Nice to be in orbit, Biennale for Art & Technology / Trondheim-Norway. Galerist in Kunstforening Trondheim. Assistant Artist for Meta.Morph Lost in Transition, Biennale for Art & Technology / Trondheim-Norway.
Bibliography (in selection) 2017 2017 2016 2016 2015 2015
Art science and biotechnology, Mascara Museum, Online newspaper Expres, 14th Nov. S. L. P. México. Art science and biotechnology, Mascara Museum, Online newspaper “El Portal” 27th Jan. S. L. P. México. International exhibition in Mascara Museum, Online newspaper “Codigo San Luis,” 09th Dic. S. L. P. México. ARTE/SCIENZA/LA Robotica - Project MEX-PRO International NET online News “Trieste-cultura” 15th Oct. Trieste – Italy. ARTE/SCIENZA/BIOTECNOLOGIA - Project MEX-PRO International NET online News “Trieste-cultura” 15th Nov. Trieste – Italy. The nanotechnology is art in Romero Paints. Newspaper “Il Piccolo” 5th April (Pag. 41) Trieste – Italy.
2015
Art and Science Morphogenesis as Superstructure. Online Newspaper “Arte.it” (The map of art in Italy) 22nd April. Trieste – Italy. Countdown to the show, Art and Science exhibition, Newspaper “Il Piccolo,” 8th April (Pag. 24) Trieste – Italy.
2015
Art and science meet, Newspaper “Il Piccolo” 9th April, (Pag. 26) Trieste – Italy.
2015
Solo exhibition of Daniel Romero in the Ugo Cará Art Museum, Newspaper online “Il friul ivenezia gulia,” 8th April Trieste – Italy. Solo Exhibition of Daniel Romero, Online Newspaper “Informa-Trieste, 9th April, Trieste – Italy. Arte & Scienza -
2015
2015
2015
Morphogenesis as Superstructure. Starting from the origin of art and science, in a diachronic investigation, Romero conceives an art-science project both in theoretical and experimental terms. Online Newspaper “Arte.it” 8th April, Trieste – Italy. The nanotechnology is art in Romero Paints. Online Newspaper “Il Piccolo” 5th April. Trieste – Italy.
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Artist Talk 2016 2016 2015 2015
1st September, Art and science talk, at Marienborg Kunsterverkteder MTK. TR-Norway 5th September, Unconscious primitive forms, at Marienborg Kunsterverkteder MTK. TR-Norway 10th August Chronicle of art@science, Marienborg Kunsterverkteder MTK. TR-Norway 11th April, Art and science talk, “Morphogenesis as Superstructure”, Trieste University, Italy.
Member Society for Artistic Research, SAR International association of visual artists affiliated with ONG-UNESCO. "IAA" Association of Visual Artists in Mexico, "ARTAC – AIAP" Active contributor of Artistic Research Catalogue of Norway RC GRUPPO78 International contemporary art Heimdal Kunstforening (Heimdal Art Society) Trondheim Kunstforening (Trondheim Art Society)
Works in Collections Collection Eduardo Lorenzotti - Barcelona Collection Andrea Pontarolo – Italy Collection José Pinto – Mexico City. Collection Rector's Gallery Paintings, University of Trieste – Italy.
Awards and Grants 2010 2012 2011 2007 2005 1994
Ph.D. in Science, with Honorous, and postulated for the Alfons caso’s medal (academic excellence) (Quantum Chemistry). One year, Working grant, University of Trieste, Italy One year, Working grant, Consejo Nacional de Ciencia y Tecnologia CONACYT, Mexico. Three years, Working grant, Consejo Nacional de Ciencia y Tecnologia CONACYT, Mexico. Two years, Working grant, Consejo Nacional de Ciencia y Tecnologia CONACYT, Mexico. College (Art) Highest degree of academic excellence and winner of the gold medal to the best student of the generation.
Other Studies (Among others) 2015 2015 2015 2014 2014 2014 2014 2014 2001 2002
Ceramic Sculpture course, Heimdal Kunstforening, Trondheim-Norway. Management and organization of temporary exhibitions, Multinational virtual space workshop, Contemporary art projects. Contemporary art photography. Online course at Node Center for Curatorial Studies Germany. Ceramic Sculpture course, Heimdal Kunstforening, Trondheim-Norway. Methods of artistic creation and project design. Online course at Node Center for Curatorial Studies. Germany. Towards a criticism of contemporary art., Multinational virtual space workshop, Contemporary art projects. Art Books Edition. Online course at Node Center for Curatorial Studies, Germany Art, Science, and Technology. Online course at Node Center for Curatorial Studies, Germany. Specialization in Computer Graphics in Drawing and Three-Dimensional Computer Animation. In Instituto Politécnico Nacional (IPN). Photography course, National Polytechnic Institute (IPN).
Language Norwegian, English, Italian, Spanish
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Romero conceives art as a scientific means to explore reality and the human being