Silvia Neri is a researcher, art critic, and curator. She is an associate researcher at the Arts des Images et Art Contemporain (AIAC) laboratory at Université Paris 8, a member of the ERUA research network Confronting Crises: Beyond Forms of Humanism, and a member of the Centre de Recherches Internationales sur l’Imaginaire (CRI2i). She holds qualifications from the Conseil National des Universités in both philosophy (section 17) and visual arts (section 18).

In 2020 she completed a doctorate in Aesthetics, Science and Technologies of the Arts at Université Paris 8 Vincennes Saint-Denis, in co-supervision with the Department of History, Criticism and Conservation of Cultural Heritage at the University of Padua. Her dissertation , the first study devoted to River of Fundament (2014), the film-opera by Matthew Barney and Jonathan Bepler, was published by Éditions Mimésis in 2025.

Since 2017 she has taught theory and aesthetics of art and curatorial practice at several French institutions, including Université Paris 8, the Institut Catholique de Paris, the Université de Lorraine, and the Université de Lille. She has collaborated with universities across Europe (Padua, Lisbon, Stockholm, Fulda, Münster, the Balearic Islands) and with all partner institutions of the ERUA alliance. She has co-organised a major Franco-Korean research project involving Université Paris 8, Université de Nanterre, the Kaywon University of Art and Design (Seoul), and the Nam June Paik Art Center (Seoul).

A curator since 2008, she is the founder and director of Neri Contemporary Art in Paris (www.neri.gallery), developed with the support of the French Ministry of Culture and with entrepreneurial training at Station F. She has presented her research in Italy, Spain, Portugal, the United Kingdom, Poland, Senegal, and South Korea, and collaborates with the International Journal of Literature and Arts (New York).

A Global History of Women in Art grew from an obsession built over years of scholarship, writing, and curatorial practice: the recognition that the art history we have inherited is incomplete by design. Not for lack of women artists, who have always existed, everywhere, but through the combined effect of excluding institutions, incomplete archives, and criteria of value constructed to exclude. This project is an attempt to give that history back.