PIM PAM PUM, PUM PAM PIM

PIM PAM PUM (PUM PAM PIM) — Gallery Room, Milano (2026). “Pim, Pam, Pum. Pum, Pam, Pim is a reflection on the formation of contemporary identity through unstable, fragmented, and artificially produced visions. In the exhibition, Camila Curiel presents a complex, composite universe — a constellation of traces and fragments where the intimate and the collective coexist without resolution — at Gallery Room (Via Pietro Calvi 2, Milan). The show opens to the public on 25 June 2026 at 7:00 PM.

The exhibition title pays homage to Alejandro Rebolledo’s novel of the same name, a cult work that depicts late‑century Caracas through the perspective of a generation marked by uncertainty, social inequality, and the inability to imagine the future. The city appears as an intermittent presence, suspended between reality and fiction, lived experience and imagined elaboration, resurfacing through materials, memories, and visual traces. Traversing the geographic and emotional distance from Venezuela, her country of origin, Curiel constructs a landscape where memory, belonging, and desire continually overlap. The Venezuelan capital does not appear as a location to be represented but as a matter that settles into materials, figures, bodies, and narratives, becoming a persistent force that transcends geography and time.

This tension takes shape in La città che non c’è (2026), a large material collage that offers a layered vision of the Venezuelan capital. As in Rebolledo’s novel, where the city appears from above as a green paradise that hides deep contradictions, the work accumulates materials, visual traces, and memory fragments into an unstable composition. The entire exhibition space takes on the contours of a territory in constant transformation. Bricks scattered through the gallery evoke both construction and ruin, while wax forms emerge like relics from an indefinite time: breasts transforming into fruit, shoes fused with feet, hybrid presences that defy stable classification.

The mise‑en‑scène is surrounded by Mea Culpa (2026), a series of sculptures reflecting on how we arrived here — into this deep black hole called the present. We all point fingers, talk, and say how the world should be, but words do not fill the voids and we do not have enough fingers to keep this boat afloat. Whose fault is it — yours, theirs, or mine? The works do not present themselves as finished objects but as temporary condensations of memories, desires, and political tensions. Wax preserves imprints, bricks hold traces of building and collapse, and collages accumulate elements that never find a definitive form. Each piece seems to emerge from a slow process of sedimentation, as if the city, rather than being remembered, keeps resurfacing.

Influenced by her experience as a graphic designer, art director, and photographer, Curiel develops visual universes that reflect on representation as a space for resistance, vulnerability, and transformation. Part of the exhibition focuses on defining models of Venezuelan femininity and the mechanisms through which the female body is represented and coded. The female figures are generated by artificial intelligence systems from prompts developed by the artist. Although they appear as portraits of real people, these presences do not correspond to existing subjects but to algorithmic constructions that condense cultural stereotypes, collective desires, and aesthetic models. Through manipulation, superimposition, and alteration of images, Curiel interrogates how identity and representation are produced, consumed, and transformed.” - Francesca De Chiara.

In Pim, Pam, Pum. Pum, Pam, Pim nothing offers a definitive narrative. The exhibition is the prize of the sixth edition of the SITU Festival residency 2025.

Gallery Room is a project by Carlo “Charlie” Lioce. Via Pietro Calvi, 2, 20129 Milano MI.

^{General view. Gallery Room, Milano.}

^{Mea Culpa (2026). Sculptural Installation in Aluminium.

Microfusione. 1:1.}

^{My fault or yours (2026). Brushed Dibond, inkjet print, iron, mirror. 42 x 21cm.}

^{General view. Gallery Room, Milano.}

^{Bottom, Right: Venbram(2026). Wax, black acrylic painting. Sculpture. 1:1.}

^{La città che non c’è (2026). Inkjet, acrylic painting, paper, black paper, wax. 100x 60cm}

^{Artist’s passport (1996). Found Object. 1:1}

^{For Charlie (2026). Wax Sculpture, Key. 1:1}

^{Your fault or mine (2026). Brushed Dibond, inkjet print, iron, mirror. 22 x 11cm.}

^{General view. Gallery Room, Milano.}

^{Crudo. Inkjet. 120 gsm premium white paper, thread-sewn binding, thick transparent varnish, A5 format.}

^{Pretender (2026). Wax sculpture.

15,5 x 10,5 cm

.}

^{Eravamo (2026). Print on fabriano paper with wax matrix 10 x 15 cm}

^{Left: Miss Universo (2026). Found objects, cloth, pins. 1:1}
^{Right: What a beautiful smile (2026). Wax sculpture, wood. 1:1}