FRANCESCA BANCHELLI
CV
PAINTINGS
PERFORMANCES
INSTALLATIONS & EXHIBITIONS
DRAWINGS
VIDEO
PUBLICATIONS
2024
Colorescenze (Centro Pecci)
L'incanto di Orfeo (Palazzo Medici Riccardi)
FocusOn/Terra Incognita (Vistamare Milan)
2023
FIRE SONG (ADA Rome)
AFTERNOON (SPE - Tenuta Dello Scompiglio)
2022
IL NUMINOSO (Building Gallery Milan)
2021
L'Ombra del Cielo/The Shadow of the Sky
2021
Mille Giorni Contano (Galleria Poggiali)
2020
I cani silenziosi se ne vanno via (Museo Novecento Firenze)
2019
The Fugitive
2015
Wearing an A
A movie without a mountain
The stone cut
----->>Wearing an A without fear
2014
This Morning...(TATE Modern)
2013
A good performance
Idea per una presenza nel deserto/Idea for a presence in the desert
The Sunshine Vineyard (Our Ideal Revolutionary Storm)
2012
Untitled (sasso alieno)
There is not a priori answer to this dilemma (The Dolphin Hotel)
The first imperial earthquake
2011
Dunno (A Perfect Crime)
2010
Ein fragment
Reflecting on a political hole (the space for a sculpture)
Himalaya
2009
People have started to plan
Untitled (Himalaya)
L'universo
2008
Instrument #1 - Instrument #2
Untitled (rainbow)
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Wearing an A without fear / Northeast passage, surfing waves
2015
Installation at Villa Pacchiani, Santa Croce sull'Arno, Italy, produced for the exhibition "Terranauti" curated by Ilaria Mariotti and Angelika Stepken
Wearing an A without fear: Miniatures painted on 35 mm slides, (varnish on polyurethane), 35 mm slide projectors
Northeast passage, surfing waves: Chalk, acrylic and fabric on wood. Chalk on polyurethane. Variable dimensions.
The installation consists in an area created by the crossing
projection of three painted 35mm slides miniatures against
adjacent walls. The work involves the spectators in a space
crossover, conveying them as witness of the concept of transformation.
Within the work, three painted 35mm slides miniatures
are projected resembling paintings hanged to the wall,
showing the remote characteristics of matter, such as gestures,
colours and shapes, but not its consistency. Although not
“presented”, matter is “present” in the room, as the not visible
part in the installation’s system, while immateriality is “presented”
in the way that matter should be, as a painting. Immateriality
substitutes matter by withdrawing its consistency?
The spectator lives the transformation of a painting as status
and subject of the work. Discovering the paintings within an
“in between” state and its process of mutation, the spectators
activate the state of transformation.
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