2006 – 2007 Ecole Regional Superieure d’arts plastiques, Tourcoing, France
2008 – 2009 Rijksakademie van beeldende Kunsten. Amsterdam, The Netherlands

2014 BRIC, Research Residency at the Banff Centre, Faculty Member project leader. Banff, Canada.
2014 Workshop Leader with the students of Masters arts in public space. Ecole Cantonal d’Art du Valais. Sierre, Swtizerland.
2013 All about this, Group show at Via Farini. Milan, Italy.
2013 Survival Kit, Latvian contemporary art Center. Latvia, Riga, Latvia.
2013 Residency at Embassady of Foreing Artist. City of Geneve, Switzerland.
2013 Parallel Realities, Video project for the Asian Art Archieve. Hong Kong, Hong Kong.
2013 Performance at the opening of the Lithuanian Pavilion. Venice Biennial. Venice, Italy.
2012 12 Taipei Biennial. Taipei, Taiwan.
2011 Entkunstung of Art. Casino Luxembourg. Luxembourg.
2009 BIM, Biennial of the Image in Mouvement, Centre Sant Gervais, Geneve. Switzerland.

Artist Francisco Camacho seeks ways in which his work can exist within official social channels. His projects have been the result of long investigations and collaborations with the local context, inhabitants and lawyers to allow his discourse to be examined by other structures of society. Therefore, his projects often leave the art world to become significant in another fields and can be viewed as a form of political activism or social discourse. His practice evolves around the possibility of art to bear practical effects on the cultural background and reflects on re-defining common concepts that can lead art to change the way in which we conceive society. In New Mexico, Francisco Camacho investigated the reasons why the inhabitants of a village decided to change its name Truth or Consequences in the 50’s ; with Group Marriage, an on-going project as part of the Amsterdam Spinoza Manifestation (2009), he petitions the Dutch parliament to open civil marriage to groups of citizens who would marry each other. And more recently Entkustung de l’art, presented at the Casino of Luxembourg, was part of a collaboration with the Luxembourg Military School, local politicians from the Senate and the Minister of Culture and a hip hop band. For the Taipei Biennial Francisco invented a new style of swimming that permit people to have a new way of understand their body within a capitalistic society.

As part of Francisco’s Research the main subject of art practice may contain the following questioning: Why is necessary to make a work of art
 Why and how public visit art manifestations And, all these questions in reference of the power that cultural politics apply to the processes of producing and consuming cultural events and artifacts, this is to say, How these politics influence Art as part of a bigger ensemble of social expressions 
Whereas a work of art is often a private idea, when it comes from the single mind of the artist, and is produced often as an object that has a one-to-one communication based with the public, a very strong set of public politics and protocols are settled down by the public institutions and governments around the process of creating, exposing, archiving, etc. These politics controls the production and diffusion of the cultural activities, they can sponsors or discourage cultural manifestation. 
The importance of culture in the social background, the art industry and market, are influenced by these politics; often the design of these politics are made by politicians that participate little or nothing in real cultural processes, they analyze the facts from a different perspective but what they decide applies to the cultural process.