FRANCESCA
BANCHELLI




CV
Paintings
Drawings
Video
Performances
Installations/Exhibitions
Publications






2020
The Fugitive (Apocalisse)

2019
The Fugitive

2018
Before the name. After the mountain

2017
TRY DIE

2016
Before the name - Manifesta 11
Before the name - MACBA

2015
---->Before the name - Spazio k/Villa Romana
Precious Stone - Capella MACBA
Precious Stone - Italian Embassy in Berlin
Before the name - Wilkinson Gallery
Fetching Bridges (endlessly)

2013
A copy produced by this process
Our soul is a presence

2012
One day I'll faint to the floor
Chiedi a Orlando (Ask Orlando)
The Sunshine Vineyard (Our Ideal Revolutionary Storm)
Towards the earth

2011
L' Abbigliamento
This is a presage (in - existence)
(Horizon) the youngest phenomena
Assioma della scelta

2010
The birds would sing in the other room
The man under the skin

2009
Socìetas: dalla terra al cielo
Three iced blackboards (part II)

BEFORE THE NAME

2015
Performance

with: Jonathan Lahey Dronsfield: artist-philosopher and Professor of Theory and Philosophy of Art
Emiliano Zelada: artist and composer
Julie Cunningham and Harry Alexander: dancers from the Michael Clark Company

SpazioK, Prato, IT
Perform: Supposing layers of silence
Jeremiah Day, Jacopo Miliani, Francesca Banchelli, a project curated by Villa Romana and Kinkaleri/is it my world?

Perform: Supposing layers of silence is an invitation to experience and share three performances of artists that have strong connection to Tuscany - having been born, raised or based here. These works have been presented internationally - in London and Stockholm - but this program is the first public moment of these projects in Italy. The program is born from a collaboration between Villa Romana and Kinkaleri/is it my world?, and comes from their shared dedication to presenting contemporary cultural production, in this case the special charachter of works occupying the intersection between visual art and dance.

Before the name is a performance inspired by the text of Alain Badiou, La danse comme métaphore de la pensée, part of the "Petit manuel d'inesthétique" written by the French philosopher in 1998, which considers the relationship between dance and thought in its germinal and revolutionary phase, associated to the event. It is a choral performance formed by dancers, storytellers and musicians, whose encounter and sharing of space and time, organised within a tight script, generates a series of events. The movement collides with a real entourage of tensions, connected to life and experience: dance, as a concept, dissolves into travel, life, debris, objects, images, teaching and meeting, in its closer aspects to becoming, and its transitionary state between body and mind. In the various versions of the performance and in the drawings / study of the work, there is always the presence of a sculptural object that recalls both a mountain and an abstract element; this element embodies the ambivalence within which the event resides, that is, the existence between what is named, the mountain, and what is still unnamed, matter. "Dance plays out the event before the event's nomination." cit. Alain Badiou. Both the central figures, the narrator and the dancer can be first matter, then mountain, first form and then soul, first body and then intellect, first name and then nothing. While the dance, until their last extreme, and only alluded, metamorphosis.


video by Matteo Laguni

Before the name is a performance inspired by Alain Badiou’s text, ‘Dance as a Metaphor for Thought’, part of the ‘Petit manuel d’inesthétique’ written by the French philosopher in 1998 – (Handbook of Inaesthetics, A.Toscano trans., Stanford University Press., 2005), which considers the relationship between thought and dance.
The work is a collective performance that interlaces languages and contributions from dancers, thinkers, musicians, and the figure of the French philosopher. Using video projections, Badiou’s thoughts resonate in the space along with the live music of artist and composer Emiliano Zelada, and the movements of two dancers from the Michael Clark Company of London. They occupy the whole space, trying to reach their own understanding of density level, generating tension for the entire lenght of the performance.
The collective nature of the performance is ignited by the interventions of the artist-philosopher Jonathan Lahey Dronsfield interacting with Badiou’s words, and establishing a dialogue in time with the dancers. The symmetrical binomial produced by the philosopher’s appearance/disappearance, and the dancers’ language that engages movement with mind, will be cut by non-theoretical perspectives introduced by the Italian art critic and curator Pier Luigi Tazzi.
Tazzi’s contributions open the boundaries of the performance’s territory, using direct actions, life’s memories, and a tributes. The focus on “dance as metaphor for thought” departs from its starting point, only to collide with a real entourage, connected to life and experience. Dance, as a concept, is now dissolved into movement, travel, life, debris, powerful objects and images.