Camilla Alberti

Milan, 1994

Camilla Alberti

Milan, 1994

She obtained a MA in Visual Arts and Curatorial Studies at NABA. As a visual artist, she works on how the world is constantly constructed and inhabited, focusing on the relationships between the different living species and the surrounding space. Currently, his research focuses on the study of imagery and narrative methods that can transform the human world through a new mythology that sees monsters as potential symbols.

Her works can be found in the following collections: Farnesina Collection, Ministry of Foreign Affairs and International Cooperation, Rome; Nctm per l’Arte, ADVANT Nctm curated by Gabi Scardi, Milan; la Permanente Museum, Milan; Corneliani Collection curated by S. Baldi, Milan.
She is currently in artistic residence at the Seoul Institute of the Arts, Ansan, Seoul – South Korea.

Recent exhibitions

  • 2022

    Wonderful! Palazzo Vecchio and Museo Novecento, Florence / Approach#1, MLZ Art Dep & Wiener Art Foundation, Trieste / AnimalAmongAnimals, Galleria Regionale Spazzapan 

  • 2021

    AlterEva, Palazzo Strozzi  / Unbinding Creatures curated by Andreas Heller, Archaeology Museum Schloss Eggenberg with the support of Atelier Schillerstraße, Graz, Austria Archaeology / Residencies: Styria-Artist-in-Residence, Graz / NAHR, Val Taleggio / Casa degli Artisti, Milan (2020/2021)

  • 2020

    Nessun Luogo è come Casa, Triangolo Gallery, Cremona / Impermanence, Galleria Ipercubo

  • 2018

    Neuro_Revolution by Air Trieste (2019) / Swamp School, Lithuanian Pavilion, Venice Architecture Biennale (2018)

Special projects

  • 2021

    Winner of the public notice Cantica21. Italian Contemporary Art Everywhere – Under 35 Section, promoted by MAECI-DGSP / MiC-DGCC / Artist selected by Hyundai Europe to produce a work for the #inspiredbybayon launch campaign of the new vehicle ‘Bayon’ 

Ruins – Concept Opera

2019 – Series of 2 sculptures

Talking about the end of the world doesn’t mean imagining a new planet instead of the present one, but a new people who will inhabit it in the near future. A people who will believe in the world and who will have to live in it by building with what we leave them. The people who comes will need to inhabit the ruins of past lives and learn how to rethink them in order to propel, these ruins, into the future. These sculptural microspaces lay the grounds for the creation of an imaginary built around the concept of ruin. The abandoned materials show their stories in an architectural assemblage left occupied by plants

Monsters from the Deep Earth – Concept Opera

2017 – painting acrylics on canvas

Painting has followed the flow of a reflection on our way of be-in-the-world during this moment, in which the walls of the house have become real confines, while the world outside the window tends towards regeneration. The painting, in fact, re-elaborates the memory of a marshy pond, the last fragment of nature that I’ve experienced before the beginning of the restrictive measures against Covid-19.

At a time in which the intimate space of the house is now an adversary and the perception of time is becoming more and more an alienation, painting has been my daily ritual to react by inscribing my every action in a temporal flow that is not accelerated, but synchronous to the world. The swamp is the symbol of this synchrony, where everything seems motionless because it happens outside of human time. An apparent staticity in which hides a complex ecosystem that continuously regenerates death with life. A space where the earth is deep and the hybridization is necessary. A habitat suitable for the Chthonic creatures that D. Haraway tells us about in Chthulucene. Ancient “monsters”, interspecies hybrids carrying a different way of being at the world; now more useful than ever.

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