Giulia Colletti is a curator concerned with technological imaginaries. She is a Rome Prize Fellow in Curatorial Research (2026) at the American Academy in Rome. In 2025, she was the co-curator of the 5th Industrial Art Biennial The Vast Automaton, supported by the Italian Council. In preparation for this project, she was a Curatorial Fellow at the National Museum of Modern and Contemporary Art, Korea (MMCA), and the Inaugural Research Fellow at the National Taiwan Museum of Fine Arts (NTMoFA). From 2019 to 2025, she developed public programs addressing digital trauma, energy cultures, and practices of participation at Castello di Rivoli Museo d'Arte Contemporanea. Her essays, reviews, and readers have been featured in museum catalogues and published by OnCurating, CURA., Flash Art, Mousse, and e-flux, among others.
How has your time in Rome shaped or shifted the direction of your project so far?
Rome has been a turning point for my research. The city gave me a living archive of conversations with scholars, studio visits with artists, and exchanges that pushed my thinking in directions I hadn't anticipated. Standing in front of works I had only studied from afar, above all at the National Gallery of Modern and Contemporary Art, let me sharpen several lines of inquiry that sit at the core of my project.
What part of your daily routine or environment at the Academy has most influenced you and your work?
Without hesitation, it was the shared meals. They demanded a collective rhythm and a constant negotiation of time. They also reminded me that research without dialogue is impoverished. To study without making room to confront and exchange critical perspectives is to settle for less. Sitting around a table with people from different backgrounds, who are all curious about one another's work, has been one of the most meaningful parts of the experience.
Have any encounters—with people, places, new information—opened up new paths in your research or practice in the past months?
Without question. Attending activities on AI and technology at the Biblioteca Hertziana and Aspen Institute Italia has been pivotal in helping me understand how my interest in large language models and the politics of language can be further developed. These encounters opened up new questions about how knowledge is produced, how technological infrastructures shape us, and how language increasingly mediates our relationship with reality itself.