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CAMILO ALVAREZ


Camilo Alvarez is the owner (and director, curator and preparator) at Samsøn (founded as Samson Projects in 2004) in Boston, Massachusetts. Camilo was born in 1976 in New York City to Dominican parents and lived in Santo Domingo for 7 years. He received a BA from Skidmore College and is currently studying to receive a Masters in Museum Studies from Harvard University. He has worked at, among other places, Exit Art, Socrates Sculpture Park, the Whitney Museum of American Art, the Museum of Modern Art, MIT's List Visual Art Center and the Skowhegan School of Painting & Sculpture. Samsøn's programs and exhibitions have been reviewed by, among others, ArtForum, the Boston Globe and Flash Art.

linkedin.com/pub/camilo-alvarez/5/225/805
huffingtonpost.com/julie-chae/interview-with-camilo-alv_b_1033050.html


CURATOR'S STATEMENTS

JUST A FEELING

just a feeling is a single-channel video displaying a woman walking alone down a street at night.  … shot on Ipswich Street in Boston after the Lansdowne bars closed for the night. Her quick pace implies unease as she consistently peers over her shoulder. The video presents an open-ended, multi-layered silent narrative that forces the viewer to complete the story.  It draws upon modern day anxieties of privacy and safety, technology and women’s issues.  We are reminded of technologies’ intrusive presence. In a moment authorized surveillance promotes security as unauthorized surveillance becomes a theft of privacy.


SLOSS, KERR, ROSENBERG, & MOORE

Sloss, Kerr, Rosenberg & Moore is a single-channel video whose choreography existed as a live performance piece created in 1986 by Ann Carlson. The video features four practicing New York City attorneys John Sloss, Chet Kerr, Scott Rosenberg and Thomas Moore, performing a movement and spoken word score that alludes to tasks associated with their job and life.  Some choreographed references include litigating, pressures of the judicial system, the contest, the service and the lawyer’s subjective view of their work.  The piece addresses labor traditions of white collar workers in both a critical and humorous way, with formally designed choreography alongside unexpected, patterned vocals. The artists are interested in using choreography to comment on ideologies of time-honored American jobs and their effects on the human body, creating a kind of modern day ritual dance.