Camille Castillon

ACENTRICSPACE第173位驻地艺术家

2025年十一月驻地艺术家
Camille Castillon

No. 173 ACENTRICSPACE Resident Artist

2025 November Resident Artist

Camille Castillon

关于艺术家 About the Artist

（法国 France）

ddaoccitanie-emergence.org/artiste/camille-castillon

Camille Castillon，1996年生于法国。她于2020年毕业于美术学院，在校期间探索了版画和限量版技法。之后，她进入艺术与建筑专业攻读硕士学位，并参加了威尼斯建筑大学（意大利）的ERASMUS交换项目。

她的经历包括：在蒙彼利埃的Théâtre d’O驻地创作；在塞尔（上阿尔卑斯省）创作一件现场艺术作品；以及为尼姆当代艺术中心（CACN）创作一件12米长的永久性作品。2024年3月至4月，她与法国Échangeur22合作，在里约热内卢的Casa de Pedra驻地创作，以近乎叙事的方式深入探讨了城市化和社区问题。这项研究在她于2024年11月在印度拉贾斯坦邦安多尔村中心的农场工作室驻地期间继续进行。

2025年全年，她的作品将在多个个展中展出，其中包括位于塔恩省奥西永的PAC艺术中心、位于蒙彼利埃的Vasistas画廊以及位于加尔省勒维冈的阿萨斯城堡。

“我致力于围绕‘世界文化’这一概念进行研究，探索这一概念固有的双重运动：一方面是文化元素在全球范围内的超高速流通；另一方面是特定地域身份认同的复兴。我周围的哪些事物几乎是普遍共享的，哪些事物又独属于我所在的这片土地？最终，这些文化元素是如何塑造我们的生活方式的？”

她童年时期受到澳大利亚原住民艺术家的绘画启蒙，这塑造了她对地域的感知以及对表现方式的关注。她秉承Yona Friedman“可实现的乌托邦”的理念，认为乌托邦只有在不断变革 – 即持续适应因地域和时间变化而产生的不同需求 – 的情况下才能可持续发展。其力量不在于彻底摒弃一切，恰恰相反，在于充分考虑自然和文化遗产。

Camille Castillon (1996) in France. She graduated from the fine art school in 2020, where she explored print and multiple-edition techniques before joining the Art & Architecture program for her master’s degree, complemented by an ERASMUS exchange at the IUAV University of Venice (Italy).

Her experience notably includes a residency at Théâtre d’O in Montpellier, an in situ artwork in Serres (Hautes-Alpes), and a permanent work of 12 meters length for the Nîmes Contemporary Art Center (CACN). In March–April 2024, she was in residence at Casa de Pedra in Rio de Janeiro as part of a partnership with Échangeur22 (France), where she developed her investigations into urbanism and communities, in an almost narrative dimension. This research continued during her residency at Farm Studio in the heart of the village of Andore in Rajasthan (India) in November 2024.

Throughout 2025, her work will be the subject of several solo exhibitions, notably at the PAC in Aussillon (Tarn), at Vasistas Gallery in Montpellier, and at Château d’Assas in Le Vigan (Gard).

“Engaged in research around the notion of a ‘world culture,’ I experiment with the double movement inherent to that concept: on the one hand, the hyper-circulation of cultural elements on a global scale; on the other, the resurgence of claims to specific local identities. What around me is almost universally shared, and what belongs uniquely to the place where I am? And ultimately, how do these cultural elements shape our ways of living?”

Her childhood initiation into painting by Australian Aboriginal artists shaped her perception of territories and her attentiveness to modes of representation. In the lineage of Yona Friedman’s “realizable utopias,” she considers that a utopia is sustainable only if it is in constant transformation—that is, if it continually adapts to needs that vary according to place and time. Its strength lies not in wiping the slate clean, but on the contrary, in taking natural and cultural heritage into account.

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