Romulo Celdran

Rómulo Celdrán  was recently selected by the New York City Department of Cultural Affairs, Percent for Art Program, like one of the six finalist for a permanent public artwork for the Grand Concourse Street improvement project.

He has also participated in Awards such as the Francesco Messina Foundation Premio Internazionale Giovane Scultura, the Sovereign European Art Prize or the Mapfre Foundation Penagos Drawing Prize.

 

He has taken part in international art fairs including ArcoMadrid, Scope Basel, JustMad, Arte Lisboa, Munich Contempo, Art Cologne, Kunst Zurich, The Solo Project Basel, Swab Barcelona, Bloom Colonia or Contemporary Istambul.

His works can be found in institutional and private collections like the Art Collection HypoVereinsbank (Germany)

 Basque Centre-Museum of Contemporary Art Artium (Spain)

 Artphilein Fundation (Liechtenstein)

 La Caixa Testimonio Collection (Spain)

 Genty Latimer Collection (London)

 Beth Rudin DeWoody Collection (Florida, EEUU)

Museum Art.Plus (Germany) amongst others.

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MACRO XIV

Polychromed cardboard, epoxy resin, polyester resin and aluminium 

33 H x 264,5 L x 13,5 W cm

MACRO Series

Under the name of Macro, a set of sculptures take shape which aim to explore the extensive world of objects that interest Rómulo Celdrán for different reasons, be they aesthetic (or antiaesthetic), plastic, functional or even emotional. Macro contemplate the Human Being as an elliptic subject. It is ignored, not through denial but because it is assumed to exist. Macro acts as camera lenses, graduating the scale of measurements with which we perceive what we look at and breaking down the correspondence between the real size of an object and the size that we perceive depending on how far away from it we are. They act as a kind of traditional magnifying glass that draws us closer to the object worthy of observation even when we keep an appropriate distance in order to view it. The concept of Macro gives the object new dimensions, strengthening its presence and inviting us to explore it, discovering hidden spaces and unnoticed nooks. They place us before a growing world, with the same consequences that we would see as Shrinking Men walking through a reality made up of objects whose unsuitable size renders them functionally useless, existing on a scale that is no longer human. In the words of the artist: “I believe there is something magic in the world of scales. There is a kind of emotional memory that invites us to feel the relationship with the Macro objects as if it were a game. As children, we view the world on a much larger scale than other people. In order to satisfy that feeling of relationship with the external world, many brands of toys try to create a world on a child’s scale. They manufacture cars, kitchens, tools, and other objects to scale for children. That memory of playing, of curiosity, of identification with what we apprehended remains somehow fixed in our memory. Discovery, surprise and, of course, irony, are aspects that I would like to see hovering around this series of works. Reality does not exist. And if what exists is the perception that we have of it, why not explore the underlying principles of that perception?”