Camilla Boemio
Bio


Camilla Boemio is a writer, curator, an university consultant and researcher whose practice deals with investigating the politics of participation in curatorial practices, the histories of art and the politics of aesthetics. Boemio co-founded and directed the thematic AAC Platform and she is curator at APT - Artist Pension Trust.
She is a new member of AICA; International Association of Art Critics, founded in 1948, supporting critical discourse in the visual arts to develop international co-operation in the fields of artistic creation, dissemination and cultural development.
She is curator of ‘Diminished Capacity’ the first Nigerian Pavilion at 15th International Architecture Exhibition La Biennale of Venice; she taken part, with a lecture, to 'The Social', at 4th International Association for Visual Culture Biennial Conference at Boston University September- October, 2016.
She was curator of the art-science section of the ISWA European Project and she curated ‘Cities’ the art exhibition of the preview of Festa of Architectura of Rome with the lectio magistralis of Paolo Soleri at Auditorium Parco della Musica and show also at TAM – Torrance Art Museum in the South Bay of Los Angeles.
She has curated ‘My Vietnam’ show at 14th Fotografia Festival Internazionale of Roma dedicated to portrait at MACRO, 2014.
Between her several lectures in museums: she was one selected speakers of the ‘BEYOND EVIDENCE – An incomplete narratology of photographic truths’ conference at FORMAT15 International Photography Festival; the conference was presented in collaboration with QUAD, the University of Derby and the Digital and Material Arts Research Centre, of the University of Derby. In August 2015 she was one of the guest speakers of “Be-diversity” Platform curated by artist Stefano Cagol at MUSE Science Museum of Trento.
She was Deputy Curator of the Maldives Pavilion at 55th International Art Exhibition La Biennale Di Venezia and curator of ‘Apprehension Global Society and Contemporary Art on the Twitter Generation’ Symposium, a Parallel Event at 6th Bucharest Biennial.
Her past exhibitions curated have included collaborations with these museums and no-profit spaces: MACRO, Roma; Auditorium Parco della Musica, Roma; Acquario Romano, Roma; the Roma Botanical Garden; KHOJ, New Dehli; Exeter museum, UK; MAR museum, Ravenna; Centro Arti Visive Pescheria, Pesaro, Neon>Campobase, Bologna; TAM - Torrance Art Museum, South Bay of Los Angeles; Hangar Bankar of Santa Monica for Co/Lab at Art Platform Los Angeles; and artists show have included: Mark Lewis, Spencer Tunick, Trevor Paglen, Tony Oursler, Michael Wolf, Gabriele Basilico, Jesper Just, Nadia Hironaka & Matthew Suib, Candice Breitz, Guido van der Werve, Ravi Agarwal, Olaf Otto Becker, Justine Cooper, Allan Sekula, Catherine Opie, William E. Jones, Shaun Gladwell, Dmitry Gutov, Ursula Biemann, Claire Hooper and more.
Her writing has appeared in various magazines (as Il Sole 24 Ore, Gente di Fotografia, Landscape Stories, Digicult, PIZZA Issue 5 / Issue 7 , Exibart, Calamità/a), publications and catalogues; as ‘Adolescence’ book edit by Landscape Stories . She has co-edited ‘Portable Nation’ published by Maretti, 'Cunauta' published by Gangemi, 'Nel Cerchio della Madre' published by Narcissus, ‘Balere’ published by Risguardi and show at Salon für Kunstbuch in Wien; she currently working on a new publications .

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Curating as a glittering myth, curating as a social symptom, curating as a revolutionary force? This last aspect of art/curating has been the hidden driving force behind many curatorial projects. An argument can be made on the basis of various theoretical approaches how art has an impact on social conditions, how it can achieve a political dimension after all. Jacques Ranciere argues that certain forms of art, namely the aesthetic regime of visibility, express “equivalence” or “equality”, and that this is true of postmodernism. This viewpoint can also be critiqued from a perspective which takes into consideration the power struggles in the art field.
Contemporary curating exists as a media conglomerate, the production of meaning is achieved through a combination of artworks, photographs, commentary, publications, design, gestures, music, film, press releases, websites and interviews. It is situated in a specific political and cultural context. To analyse these complex situations we need a variety of approaches, for every project the combination could alter, it makes a bricolage of methodical approaches necessary.