Lucrezia Calabrò Visconti is a curator and art writer. She is currently Head Curator at Istituto Svizzero in Italy, where she curates the programmes across its venues in Rome, Milan, and Palermo. Her recent projects include the monographic exhibition how we always survived by Pauline Boudry / Renate Lorenz and the group show Con lo zucchero in bocca in Rome; the exhibitions Deadline With The World by Gabriele Garavaglia and Miriam Laura Leonardi and The House of Dorothy by Vincent Grange in Milan; and the public programme Time is on my side by Helvetropicos in Palermo (all 2025).
She previously served as Chief Curator and Head of the Curatorial Department at Pinacoteca Agnelli in Turin, where she contributed to redefining the institution’s mission on the occasion of its relaunch in 2022. At Pinacoteca Agnelli, she curated and co-curated major monographic exhibitions such as Salvo. Arrivare in tempo; Lee Lozano. Strike (Pinacoteca Agnelli and La Bourse – Pinault Collection, Paris, 2023–24); and Sylvie Fleury. Turn Me On (2022); as well as new commissions including Dominique Gonzalez-Foerster. PISTARAMA and exhibitions such as Lucy McKenzie and Antonio Canova. Vulcanizzato (2023). For Pinacoteca’s Pista 500, an ambitious open-air installation project, she curated projects and new commissions by artists such as Chalisee Naamani, Monica Bonvicini, Shirin Aliabadi, Nina Beier, Julius von Bismark, Mark Leckey, Cally Spooner, VALIE EXPORT, Sylvie Fleury, Liam Gillick, Marco Giordano, Nan Goldin, Shilpa Gupta, Louise Lawler, Alicja Kwade, SUPERFLEX, among others.
She has curated exhibitions and programmes for institutions in Italy and abroad. Recent projects include Motherless Daughters, VIN VIN, for “curated_by”, Vienna (2023); Esasperate, Eretiche, Estatiche, Almanac Inn, Turin (2021); the public programme Verso, Fondazione Sandretto Re Rebaudengo (2020–21); No Space, Just a Place, Daelim Museum, Seoul (associate curator, 2020); Get Rid of Yourself (Ancora Ancora Ancora), Fondazione Baruchello, Rome (2019); Abstract Sex. We don’t have any clothes, only equipment, Artissima, Turin (2019); Good Luck, See You After the Revolution, UvA, Amsterdam (2017); Why Is Everybody Being So Nice?, De Appel and Stedelijk Museum, Amsterdam (2017); and Dear Betty: Run Fast, Bite Hard!, GAMeC, Bergamo (2016).
In 2018 and 2019, she was the curator of the New Entries section at Artissima, Turin. In 2018, she curated the main exhibition of the 6th Moscow International Biennale for Young Art, titled Abracadabra, and co-founded the collective platform The School of the End of Time, with which she co-curated the public programme accompanying the Biennale. From 2018 to 2021, she worked at Fondazione Sandretto Re Rebaudengo as curator and head of the Young Curators Residency Programme, a research-based residency for international curators selected by leading curatorial schools worldwide. From 2015 to 2018, she co-founded and curated the programme of CLOG Projects, a research-driven independent space focused on contemporary arts and culture, autonomous education experiments, and self-production projects.
As a writer and journalist (registered with the Ordine dei Giornalisti), her essays and texts have been published in various exhibition catalogues, publications, and journals. Her book In the Studio: Lee Lozano was recently published by Hauser & Wirth Publishers (2025). She has edited and curated volumes such as Salvo. Arrivare in tempo (JRP, 2025); Lee Lozano. Strike (Marsilio, 2023); Sylvie Fleury. Turn Me On (Corraini, 2022); Shifting Views on Italian Art (NERO, 2021); and The New Work Times (Gucci, 2018).
Since 2024, she has been teaching the course Contemporary Museum Studies at NABA, Milan. She has delivered lectures and conferences at museums and organisations in Italy and across Europe, and she regularly teaches at universities and independent programmes.
She received her education in visual and performing arts from IUAV University in Venice, in curatorial studies from De Appel, Amsterdam, and Fondazione Sandretto Re Rebaudengo, Turin, and specialised in critical social theory at the University of Milan–Bicocca and the Critical Curatorial Cybermedia Research Master at HEAD, Geneva (currently on hold). She completed her curatorial training at Artists Space, New York.
She is co-founder and currently vice president of AWI – Art Workers Italia, the first association established to advocate for contemporary art workers in Italy (since 2020), and she sits on the board of the Milano Art Community (since 2025).NOTE: this website is not updated regularely!
