Born in Buenos Aires, Argentina, Florencia Incarbone is an independent editor and curator based in Paris. She holds a degree in Cinematography from the Universidad del Cine (Argentina). Her practice moves at the intersection of experimental cinema and video, exploring its aesthetic, conceptual, and sensory dimensions. Her recent projects investigate notions of disappearance, landscape, and perception—particularly in relation to specific territories.

Her curatorial practice spans museums, biennials, cultural institutions in Argentina and abroad, including the Bienal de la Imagen en Movimiento (BIM), MEACVAD, Istanbul International Film Festival, CineToro – Experimental Film Festival, CODEC/Festival Internacional de Cine Experimental y Video, among others. For BIENALSUR, she curated programs at Maison de l’Amérique Latine (Paris), FRAC Bretagne (Rennes), Universidade Federal do Rio Grande do Sul (Porto Alegre), and Sursock Museum (Beirut).

She is the co-founder, curator, and editor of Hambre | espacio cine experimental (2013–2023), a platform dedicated to the research and dissemination of experimental audiovisual practices in Latin America. Within this framework, she has edited The Radicality of the Image: Overflowing Latin American Latitudes. On Certain Modes of Experimental Cinema (2016) and Migrant Thoughts: Cinematic Intersections (2020).

In 2024, she coordinated issue titled Audiovisual Intersections: Curatorial Potentials of the Moving Image of Revista Estudios Curatoriales (UNTREF), which offered a critical perspective on the moving image and its field of aesthetic production, its place within contemporary art discourses, and the implications of its conditions of access, exhibition, circulation, and preservation.

Her writings on film and video have appeared in publications by the Museo Nacional de Bellas Artes (Argentina), the Bienal de la Imagen en Movimiento (BIM), Walden Magazine, and Les presses du réel, among others. Her thesis, Stan Brakhage: From the Romantic Subject to Radical Desubjectivation, was published by Universidad del Cine Press in 2022.