Francesco Albano

Sunday 8 November 2020

THE SECONDARY BURIAL #2

The Secondary Burial #2

2020, bones, wood, leather, fabric

137 x 78 x 125 cm

Saturday 31 October 2020

THE MISANNUNCIATION #2

The Misannunciation #2, 2020, wood and glass, 134x100x118 cm

Friday 30 October 2020

TODO MODO

Todo Modo, 2020

fabric, wood, polyester resin, iron, leather, 132x50x86cm

Tuesday 27 October 2020

The Misannunciation #5
2020, wood, iron, taxidermy bird, 310 x 105 x 120 cm

Sunday 13 September 2020

THE MISANNUNCIATION #3

The Misannunciation #3,

2020, wood, fabric, 170 x 130 x 90 cm

Monday 7 September 2020

STUDY FOR GARRINCHA'S LEGS

Study for Garrincha's Legs, 2020

polyester resin, wood, 80x75x135 cm

Friday 8 May 2020

AURELIANO BUENDÍA

Aureliano Buendía
2020
polyester resin, 185 x 25 x 30 cm

Piazza San Francesco D'Assisi, Palermo, Italy

Monday 13 April 2020

THE MISANNUNCIATION

HUMORAL FORTUITIES

curated by Luca Reffo

in collaboration with Depart Pour L'Image

October 29th - November 31st, 2019

Ditta Parlato Tessuti / Palermo

FOUR OR FIVE EXERCISES OF ACEPHALIA

October 8th - November 9th, 2019
ÖktemAykut / Istanbul

Described as the “absence of the head” and laden with metaphors since the Ancient Greece, the notion of Acephalia functions both as a starting point and a frame for Albano’s new exhibition. Four or Five Exercises of Acephalia comprises four new installations and a new video work along with sketches by Italian sculptor Albano. Known for his representations of disrupted bodies in his sculptures and installations using synthetic materials such as polyester, polyurethane and paraffin, Albano presents his animated audiovisual installations for the first time in Turkey. Referring to Pasolıni’s Salo and the 120 Days of Sodoma visual imaginary and expressing his own conceptual repertoire in a multilayered way in his sketches and collages, Albano –like Pasolini– reveals how bodies are commodified by the power structures.
Setting off from various bodies that have lost their essential form or been modified, Albano attempts to get closer to the reality beyond what is seen. By embracing all the possible transformations and references of sculpture, the most physical and material expression of art, from Ancient Greece to Modernity, Late Capitalism to Post-Truth, the artist seeks the potential to decode the traditions of domination imposed on bodies. Through his sculptures, he tries to reveal the invisible violence towards live bodies and the permanent effects of hidden tyranny on human feelings and thoughts.