Camilla Gurgone (Lucca,1997) is a visual artist who lives and works in Milan. In 2020 she graduated in Sculpture at RUFA - Rome University of Fine Arts (Rome) and in 2024 she got her MA in Visual Arts and Curatorial Studies from NABA - Nuova Accademia Di Belle Arti (Milan). Her research explores the relationship between artist, artwork and the viewer through installations, performances and participatory practices that activate physical and virtual spaces. Contemporary technological languages, such as artificial intelligence algorithms and digital devices, are intertwined with a strong material and sculptural element, which is used as a tool for critical reflection on everyday life.

Since 2022 she has been part of the curatorial and organizing team of spazioSERRA (Milan) and of the collective/project space Omuamua (Milan). Since 2024 she has been represented by the gallery Viasaterna (Milan). In 2024, she was named the best young Italian artist by Artribune. In 2025, she was included in Forbes Italia's “100 Under 30” ranking.

"Camilla Gurgone brings spaces and imaginations to life with works of art that engage on multiple levels: moving between the language of installation and performance, she triggers audience interaction with a playful spirit, sometimes leaving room for poetic sensitivity, delicacy, and hidden details. Through the collective imagination, her practice moves from a physical, sensory plane composed of concrete shapes and similarities to the more ethereal plane of the digital world, using artificial intelligence algorithms and social media platforms. Among these, in particular, we find those material, inorganic devices that are always present and often unnoticed in human relationships: words and numbers are written on each of these silent objects, lending themselves to a lucid and dry poetics that moves between the lines of a receipt, in the crumpled folds of a ticket, in the magic of a sensory illusion, and in all the misrepresented meanings. We are talking about a practice that moves a subtle social criticism, about an artist who sometimes "changes jobs", making the interpretation of her practice more complex and multifaceted; Gurgone offers a very particular reflection on popular images, sensations, and emotions. Her manipulation is everywhere, to the point that nothing is neutral or even innocent in her installations. Here, we sense the emergence of a blatant dysfunctionality that makes the relationship between humans and all the devices that serve as accompaniments in contemporary life situations rigid and difficult. The sense of artificiality and fabrication raises the question:

can there be interaction without representation?"

- Arianna Maestrale