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Inauguration date: 5 October 2023, 18.30-21.00

On October 5th, 2023 Camilla Grimaldi will inaugurate her exhibition space in Via dei Tre Orologi 6 in Rome, alongside the first italian solo exhibition of South Korean artist K Blick. 
This show will present the series The Origin of the Milky Way, where the artist explores the influences of Greek and Roman mythologies on the history of painting. Drawing inspiration from grand masters such as Tintoretto and Rubens, her work unpacks traditional hierarchies and disrupts the ways in which the story of humanity and nature was previously told. In her work, human beings, flora and fauna meld together, creating an otherwise inexistant equilibrium between all living things and the environment at large. Drawing upon elements from the disorderly nature of Baroque art, architecture and 17th century Portuguese tiling, Blick not only creates a new visual language of anthropomorphic abstraction, but also contributes to our contemporary conversation on how a unison between humans and nature may create a world of harmony. 


K Blick is a South Korean artist based in the UK and Portugal. She completed her initial degree in Tokyo, followed by her MA in Fine Art at Central Saint Martins in London. Her work has been exhibited internationally at the Florence Biennale in Florence, Italy, Tate Modern and Saatchi Gallery in London, UK. Blick’s work is in several prestigious collections such as the Bulgari Private Collection in Italy, the Shahmoon Private Collection in the UK, and the Newm Art Private Collection, USA.

Inauguration date: 5 October 2023, 18.30-21.00

Address: Via dei Tre Orologi 6A, 00197 Rome, Italy


MAY 2023



Camilla Grimaldi Booth W13

Curated by Camilla Grimaldi and Greta Voeller



Camilla Grimaldi presents her first solo booth at this year’s Photo London fair with a selected showcase of uniquely Italian artists, from emerging to established. The curatorial concept entails artworks that display alternative scenarios and parallel dimensions, imagining architectural spaces of the past and present whilst transcending time and form. The idea is to merge the possible with the impossible.


The booth is positioned within a transitory area of Somerset House placed in-between two other booths on each side and marking the end of a long corridor which enables audiences to see the Grimaldi space from afar. This setting is the perfect pedestal to present works that widen the audience’s perspective, elongating the viewpoint and broaden the dimension of the small booth.

For the installation of the space, Camilla Grimaldi collaborates with the roman collective Sbagliato by developing a site-specific installation for Photo London 2023. Sbagliato works at the intersection between street art murals, photography and fine arts. Their name means wrong literally translated from Italian, which perfectly evokes their proposed alternative scenarios within urban contexts. These site-specific “wrong doings” obliterate the preconceived meaning of the urban structure they inhabit and offer an opening, a paradigm shift, and extended viewpoint of what was there before their intervention. This rift in the architectural order commences through the application of an ephemeral medium like the poster, which allows for the inherent structure to be kept intact in case the viewer perceives the work to be a wrong or unsuitable application of the environment it is placed within. In their most recent application, Sbagliato has developed aluminum pieces of their most iconic symbols; the window and roman sculpture. The references shown in these works recall classical or neoclassical Italian art and architecture, incorporating the point of origin and main drivers of inspiration for the collective. For Somerset House, Sbagliato will amalgamate both formats, the poster and aluminum pieces, creating both a center piece for Grimaldi’s space, as well as an illusionary pathway for the fair to continue in.

Mostra di Fabio Zonta

Canova e Venezia 1822 – 2022


La mostra Canova e Venezia 1822-2022, Fotografie di Fabio Zonta è terminata il 5 febbraio al Museo Correr a Venezia, curata da Andrea Bellieni e Camilla Grimaldi. L’esposizione presentava le opere di Fabio Zonta rileggendo e interpretando la scultura di Canova attraverso gli scatti contemporanei del fotografo. 

La mostra è stata supportata dalla Fondazione Musei Civici di Venezia in collaborazione con la Venice International Foundation.


In occasione del bicentenario della morte di Antonio Canova, avvenuta il 13 ottobre 1822 a Venezia, il Museo Correr ha celebrato lo scultore neoclassico con questa mostra di fotografie.


10 febbraio 2023 a Roma, è stata esposta una selezione mirata di opere dell’artista Zonta, con una breve introduzione della storica dell’arte Prof. Elena Catra sull’eredità culturale di Canova, mentre la curatrice della mostra Camilla Grimaldi ha parlato dell’unione tra storia e contemporaneità presente nelle fotografie di Fabio Zonta. 


In occasione, è stato anche presentato il libro della mostra sponsorizzato da Studio Moscarini e Studio Grimaldi.


La mostra a Studio Moscarini proseguirà fino alla fine di marzo (solo prenotando un appuntamento).


Per prenotare una visita:

CANOVA 1822- 2022

Ritorno a Venezia

Fotografie di Fabio Zonta 

Nel Bicentenario della morte del grande scultore


Venezia, Museo Correr

29 ottobre 2022 – 5 febbraio 2023

Mostra a cura di 

Andrea Bellieni e Camilla Grimaldi

Dal 28 ottobre 2022 al 5 febbraio 2023, in occasione del bicentenario della morte di Antonio Canova, lo scultore è doverosamente celebrato al Correr con una mostra realizzata dalla FONDAZIONE MUSEI CIVICI DI VENEZIA, con il sostegno di VENICE INTERNATIONAL FOUNDATION, curata da Andrea Bellieni e Camilla Grimaldi: la scultura di Canova riletta e interpretata da un autentico artista della fotografia: FABIO ZONTA.

“Proprio l'essere Canova artista sia intimamente e autenticamente veneziano, sia veramente internazionale e 'globale', ce lo rende oggi figura straordinaria, portatrice del più autentico e alto messaggio dell'arte e della bellezza universale che - lo crediamo - veramente ancora potrà 'salvare il mondo'!”, afferma il Sindaco Luigi Brugnaro.

Opere idealmente riallestite con fascinosa ambientazione in anni recenti (2015) da questa Fondazione con il concorso della benemerita Venice Foundation.

Per questa importante celebrazione la stessa bella sinergia della parte pubblica con il mecenatismo privato si rinnova nel nome di Canova.

Ciò avviene per organizzare la mostra che al Correr, a poca distanza e quasi accanto ai capolavori originali, ci restituisce l'arte sublime dello scultore mediata dalla fedele, rispettosa, eppure personale e fascinosissima interpretazione visuale del fotografo Fabio Zonta.

Anche attraverso le immagini catturate dall'obiettivo di Zonta, immerse una conturbante luce rivelatrice, Canova ritorna a emanare per noi universale bellezza salvatrice.



A conversation in pictures between Fabio Barile and Domingo Milella

curated by Alessandro Dandini de Sylva 

in partnership with Camilla Grimaldi and Greta Voeller


22 June–31 July 2022


National Roman Museum – Baths of Diocletian

Via Enrico de Nicola 78, Rome 

“Knowing the past is as astonishing a performance as knowing the stars”, George Kubler wrote in his 1972 book The Shape of Time, which inspired the title of the exhibition of photographs by Fabio Barile and Domingo Milella that engages in a unique dialogue with the archaeological setting of the Baths of Diocletian from 22 June to 31 July 2022.


Curated by Alessandro Dandini de Sylva, the exhibition is a journey through geological, archaeological and present time. Following the first two chapters of the exhibition at the Centro Arti Visive Pescheria and the old Synagogue in Pesaro, The Shapes of Time now seeks a new connection with the Grandi Aule (Great Halls) of the Roman baths. The Shapes of Time at the Baths of Diocletian is produced by Istmo in partnership with Camilla Grimaldi and Greta Voeller.


The exhibition is a development of the conversation between the two artists, this time dedicated to the relationship between landscape archaeology and linguistic archaeology. In fact, the artists and the curator have envisaged the exhibition narrative as a dialogue between pictures and archaeological space, offering an archaic return to reflection and an in-depth inquiry into photography and the very act of looking. 


“The works by Fabio Barile and Domingo Milella are photographs that reflect time. Barile’s pictures show constantly evolving shapes, from the most remote times of the world and geology, while Milella’s have their roots in the stone of the archaic period, from the primitive to the present in a single glance,” the exhibition’s curator, Alessandro Dandini de Sylva, explains. “The theme of antiquity is evoked by the dialogue between the images on display, from the Pyramids of Giza and the Tomb of King Midas in Phrygia to the Campo Imperatore plateau and the Gorropu Gorge in Supramonte. The exhibition aims to use the conversation between the two artists to bring together silent geologies and talking stones in the quest for a shared archaeology.”


Le Forme del Tempo, Installation View, Photo: Eleonora Cerri Pecorella

Alongside the photographs, The Shapes of Time presents a selection of archaeological artefacts, chosen with Stéphane Verger, the director of the National Roman Museum, with the aim of creating unexpected visual and semantic juxtapositions of the photographs, the Grandi Aule, and the fragments of time unearthed in the museum’s storerooms. 


Verger explains: “The Shapes of Time is the continuation of the National Roman Museum’s ‘Archaeology and Photography’ project, conceived to promote our archaeological heritage through the universal language of photography. The choice to display works from the museum’s storerooms alongside the photographs taken by Fabio Barile and Domingo Milella, allows us to highlight the importance of the relationship that exists between the museum and its contents and contemporary creativity. Moreover, the exhibition venue is the Baths of Diocletian, the ideal setting for a visual narrative dedicated to the passage of time, which allows it to engage in a ceaseless dialogue with the imposing structures of the halls of the baths and the artefacts.” 


The exhibition will also be a reflection room that, during the period of the event, will host a conference with archaeology writers and academics, and a children’s workshop conducted in conjunction with the Cartastraccia association. 


The Shapes of Time is accompanied by a book published by Fondazione Malaspina featuring a text written by the director of the National Roman Museum Stéphane Verger, and a conversation between the curator Alessandro Dandini de Sylva and the photographers Fabio Barile and Domingo Milella.



Schiaffini Travel SpA and Lexus Roma Nord | Main Sponsors

Grimaldi Studio Legale and Caffè Mauro | Sponsors

Fondazione Malaspina | Partner

Fattoria del Teso | Technical Sponsor


The National Roman Museum, founded in 1889, was originally housed in the Baths of Diocletian. It vaunts one of Italy’s most extraordinary artistic heritages that, between 1995 and 2001, was split between three further branches of the museum: Palazzo Altemps, Palazzo Massimo and the Crypta Balbi. These four locations allow visitors to discover Rome’s history, from the earliest settlements in Lazio to the splendours of the imperial age, up to the Renaissance passion for Roman antiquities that spawned the earliest collections. The National Roman Museum is directed by Stéphane Verger. 

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