Camilla Cerioni proposes a cosmic painting and total, strongly characterised by an instinctive expressiveness, rich in automatisms and synaesthetic exercises.
Interested in performative experiences performative experiences, her works achieve finished status without betraying their nature of relational origin.
Alessandro Mescoli, curator, 2022.
Translated by Camilla Cerioni

In front of the Pistoletto room inside the Centro 70 exhibition of the Ginolimmortale association, a new opening of the exhibition was held for Ancona Crea. With the performance of Camilla Cerioni inside her installation. While the previous time Cerioni had stripped off and played the double bass, this time she appeared dressed in black, covered from head to toe, only her hands were covered to play the musical instrument. Several people watched with her in the middle of the earth covering the floor. Earth that is the artist’s element, considered thorny, like the cacti on either side of her space. – newspaper “Il Resto del Carlino”, Franca Santinelli, 2016
Translated by Camilla Cerioni

Black suits the performance. After Cesarini at the Forum in Senigallia, another figure in black (a burqa?) materialised last Saturday at the second ‘Centro 70’ varnishing at the Mole in Ancona, accompanied by the grave notes of a double bass. With the bow or the pizzicato or even with a long pause of silence, Camilla Cerioni knows how to suggest. We take note of this and gladly report it. – the visual culture and art pedagogy researcher, Gabriele Bevilacqua, 2016.
Translated by Camilla Cerioni