Selected works by Pia Camil

Pia Camil
Fragmento 4 1


Low temperature ceramic glaze

84 x 32 x 20 cm

Pia Camil’s objects are never quite what they seem, meaning that they are almost always misunderstood. The artist draws from the symbolic universe of contemporary consumerism, incorporating the signs, objects and things that form part of everyday life. Compelled by the failures of capitalist strategies, Camil’s performance objects propose a friction between non-linguistic representation and modernist symbols. The domestic warmth of her sensuous ceramics, textiles and interiors are merely a veil for a practice that is better aligned with the hard-edges of New Mexico’s urban vernacular architecture and post-industrial ruins. In her wide ranging practice, Camil trawls highways to reclaim abandoned structures and thereby activates spaces of intervention to uncover the aesthetics of failure.

Pia Camil
Fragmento 4 11


Low temperature ceramic glaze

74.3 x 33.5 x 13.5 cm

Paradoxically, the artist’s attraction to the physical qualities of craft techniques has never been one of romanticising laborious processes. Camil is more interested in the intrinsic usefulness of craft forms as cultural signifiers, with meanings rooted in both feminist and materialist histories. Massive hand dyed wall hangings, elaborate ponchos and glossy ceramic vases, suggest a theatrical staging of an interior world. These objects have been props in Camil’s live performances that experiment with the formal qualities of domestic spaces. Often presenting multiple objects within the same room, the artist is known to have rearranged objects to activate a cyclical conversation. Blurring the space between exhibition and set design, Camil leaves the spectator to conclude his or her own reading of these interactive set-ups between inanimate objects.

Pia Camil
Fragmento 8 1


Low temperature ceramic glaze

82.5 x 42.5 x 17 cm

Camil’s practice enacts possible ‘other’ functions for the dissemination of visual art (theatre, architecture and advertising to name a few). While her reuse of billboards as a promotional form highlight the failure of the commercial system, the notion of consumer culture draws attention to the spectacle of an art form centered on objects and things. Ever disarming, the tropical colour themes (cream, tan, blue, and purple, with brighter accents of yellow, red, and peach) offset the linguistic fragments of her ceramic series (Fragmento, 2014), which are as self-aware as their audience. Camil’s work is a consistently inquisitive attempt at making and re-making objects; be it performing a ‘negation’ of a work by the American choreographer Yvonne Rainer, resituating the Russian supremacist Kazimir Malevich’s black square in three-dimensional public space or her incessant reordering of fragments. The convergence between discrepant urbanisms and aspects of modernist culture form a site for the articulation of failure as a means of reinvention.

Pia Camil
Prueba Fragmento 6 II


Low temperature ceramic glaze

41 x 25 x 13.5 cm (each)
Pia Camil
Fragmento 0


Enameled low temperature ceramic

70.2 x 24.8 x 14 cm/ 9.5 x 20.3 x 15.2 cm
Pia Camil
Fragmento 5


Enameled low temperature ceramic

65.4 x 21 x 14.6 cm
Pia Camil
Fragmento 4 III


Enameled low temperature ceramic

57.2 x 22.9 x 13.3 cm
Pia Camil
Fragmento L


Enameled low temperature ceramic

40 x 59.1 x 13.7 cm

© Osei Bonsu, 2014

Pia Camil's Biography

Pia Camil
Born in 1980, Mexico City
Lives and works in Mexico City


Bara, bara, bara, Dallas Contemporary, Dallas, Texas. Curated by Justine Ludwig

Divisor Pirata, NuMu (nuevo museo de arte contemporáneo), Guatemala City, Guatemala.
A Pot for A Latch, second edition, Manetti Shrem Museum of Art, UC Davis, California.
Slats, Skins & Shopfittings, Blum & Poe, NYC.
A Pot for A Latch, New Museum, NYC.

Skins, Contemporary Arts Center, Cincinnat

Entrecortinas: abre, jala, corre, GalerĂ­a OMR, Mexico City
The little dog laughed, Blum and Poe, Los Angeles

Espectacular TelĂłn, Sultana Gallery, Paris, France.
Cuadrado Negro, part of the program Mutatis Mutandis in Artium, Basque museum-center of contemporary art, Vitoria, Spain.

Lost In You (A Performance That Never Happened), open studio performance, Mexico City.

El Resplandor, El 52 Gallery (project space and residence program ran by OMR Gallery), Mexico City.

Pensando en Ti (Thinking of You), site specific intervention, Mexico City.

Temporary gallery space, Mexico City


Home Visit, Museum Ludwig, Cologne, Germany.
TXT, Instituto de Visión, Bogotá, Colombia.

United States of Latin America, Museum of Contemporary Art Detroit, Curated by Pablo Leon de la Barra & Jens Hoffmann.
Pia Camil, Pablo Helguera, Pedro Reyes, Middlesbrough Institute of Modern Art, Middlesbrough, England.
Pangaea II: New Art from Africa and Latin America, Saatchi Gallery, London.*
Falso Movimiento, Luciana Caravello, Rio de Janeiro, Brazil.

Ir para volver, Bienal de Cuenca, Ecuador.
Arroz Sem Sal, Silvia Cintra Gallery, Rio de Janeiro, Brazil. Curated by Kiki Mazzucchelli.

Draft Urbanism, Biennial of the Americas, Denver, Colorado. Curated by Carson Chan.*
No A Trio A, "En casa" project at La Casa Encendida, Madrid, Spain. Curated by Luisa Fuentes Guaza.
Horizontal, La Central gallery, Bogota, Colombia.

Popo de Paris, Sultana Gallery, Paris, France.
Arteba, Buenos Aires, Argentina, curated by Pablo LeĂłn de la Barra

Solo Projects Art-Rio, International Contemporary Art Fair of Rio de Janeiro, Brazil, curated by Pablo LeĂłn de la Barra and Julieta Gonzalez.
El Grito, Museo de Arte Contemporáneo de Castilla y León (MUSAC), Spain, curated by Sofia Hernandez Chong Cuy and María Inés Rodríguez.
Zona Maco Sur, Mexico City, Curated by Adriano Pedrosa.
Mañana, Proyectos Ultravioleta, curated by Beatriz Lopez, Guatemala.

El Resplandor performance, Miami Art Basel, Creative Time and Tamayo Museum Mexico City programming for Ocean Front.
Sin techo está pelón, Universidad de Guanajuato, Mexico. Curated by Michel Blancsubé. A selection of work from La Colección Jumex.*
Draw, Museo de la Ciudad de MĂ©xico, An exhibition curated by Erik Foss, Curse Mackey and Miguel CalderĂłn, Mexico City.
El Resplandor, Museo Experimental Eco, Mexico City.
MACO, Contemporary Art Fair, Mexico City.

Artbo, La Central, Colombia.
There are false problems..., Proyectos Monclova, Monterrey, Nuevo Leon.
Resplandor, El 52 Gallery Space, Mexico City.
sic], OMR Gallery, Mexico City.
Names and Places, Firstdraft Gallery, Sydney Australia.
This is not an invitation, it’s a presentation”, curated by Pia Camil in collaboration with Stefan Brüggemann, El 52 Gallery Space, Mexico City.

Illumination, an Interval project, Manchester.
Lanzarote, Keith Talent Gallery, London.
Post Graduate Degree Show, Slade School of Fine Art, London.
Woburn Studios, Slade School of Fine Art, London
Croyances Quotidiennes, Palais Université Robert Schuman, Strasbourg, France*
Kate Moss Drawings, GalerĂ­a de Arte Mexicano, in collaboration with artist Stefan BrĂĽggemann, Mexico City.
Taenu, TactileBOSCH Gallery, Cardiff, Wales.

Interim Show, Slade School of Fine Art, London.
Eventos Sociales, GalerĂ­a de Arte Mexicano, Mexico City.
Trace: Recent Works From Slade Post-Graduates, The Slade School of Fine Art, London.
Turtle, Woburn Studios, The Slade School of Fine Art, London.

Fire and Ice, drawing study, Nina Menocal Gallery, Mexico City.
MACO Art Fair, Nina Menocal Gallery Stand, Mexico City.
Cinco: A Multi-Media Exhibition From Five Contemporary Mexican Artists, Black Book Magazine, New York City.

To Challenge Death by Holding Your Breath Underwater”, Proyectos Monclova Gallery, Mexico City.
Morir de Amor, MUCA Unam (National Autonomous University Museum of Contemporary Art), Mexico City*

El Sueño de la Razón, Collaborative drawing with Andrea Crews for Localismos,, Mexico City
San Valentín Señorial, audio installation, Hotel Señorial, Mexico City.

Painting show, Woods Gerry Gallery, Providence, R.I.

YIA (Young International Artists), Centro Culturale Rialto Santo Ambrogio, Rome, Italy.
Winter and Spring Exhibitions, Palazzo Cenci, Rome, Italy.