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Ximena Caminos is a Cultural Entrepreneur and Bio Cultural Place-Maker. She is the President of BlueLab Preservation Society, CCO of HoneyLab Creative, and Founder of The ReefLine. Caminos has pioneered new ways to engage with contemporary art, emphasizing its role in community-building, urban development, climate change, and ocean conservation. She has played a pivotal role in creating large-scale cultural districts across North and South America.
Caminos served as Artistic Visionary Planner for The Underline, the largest public art project in the US, and Founder and former Chair of Faena Art. [1] She was Executive Creative Director and partner in Faena Group [2] [3] , Chief Curator at the Faena Arts Center in Buenos Aires, and founded the Faena Prize for the Arts, one of the largest art prizes in Latin America. [4] [5] During her tenure at the Faena Group, she was also Artistic Director of Faena Forum, "a new kind of multidisciplinary centre in a flexible building that can house dance, theatre, political debates, lectures and a wide range of other cultural happenings," opened in Miami Beach in 2016 and designed by Rem Koolhaas [6]
She has been cited as a major contributor to the international contemporary arts scene. Caminos is a member of the New Museum Leadership Council, [7] founding Member of the Solomon R. Guggenheim Museum's Latin American Circle Partner, and Advisor to Art Basel Cities. She is an XPrize Ambassador and the recipient of many Awards, amongst them the Knight Foundation Arts Champion Award and Knight Foundation Arts Challenge Award 2019. [8]
Currently, Ximena Caminos is leading a team of experts on the realization of The ReefLine, a 7-mile public underwater sculpture park and hybrid reef off the coast of Miami Beach. [9] Each reef module will be scientifically informed and designed by artists [10]
Caminos was a curator at the Museo de Arte Latinoamericano de Buenos Aires until 2004, [6] [11] and previously, a curator and producer for the Buenos Aires Secretary of Culture [3] She trained with Eduardo Stupía and Pablo Suarez [12] and worked with Miguel Briante at the Recoleta Cultural Center [13]
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