Camilla Gurgone, born in Lucca in 1997, 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). 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).
Her work activates spaces and imaginaries with participatory artworks on several levels: moving between the language of installation and that of performance, she triggers the interaction of the public with a playful desire, sometimes leaving room for a poetic sensibility of delicacy and hidden details. Through the collective imagination, her practice operates by moving from a physical, sensorial plane composed of games of concrete forms and resemblances, to the more ethereal plane of the digital/social world, using artificial intelligence algorithms and Instagram filters. Among these in particular are those material, inorganic devices that are always present and often unnoticed in human relations: on each of these silent objects are written words and numbers that lend themselves to a lucid and dry poetics, moving 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 poetics that makes a subtle social criticism and about an artist who sometimes ‘changes jobs’, making the interpretation of her practice more complex and multifaceted; Gurgone proposes a very particular reflection on images, sensations and popular emotions. Her manipulation is everywhere, to such an extent that nothing is neutral or even innocent in her installations. Here one feels the emergence of a blatant dysfunctionality that makes the relationship between man and all the inorganic devices, that serve as an accompanying apparatus in the situations of contemporary life rigid and difficult. Indeed, the feeling of the artificial and artefactual raises the question:
is there interaction without representation?
- Arianna Maestrale.