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Emanuele Resce

(Benevento, 1987)

BIOGRAPHY

EXHIBITIONS

World is a House of Departures

Sinai Phone

Nascosti alla luce del sole

EXHIBITED WORKS

FAIRS

ArtVerona 2024

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Matter, symbolism and gestuality: Emanuele Resce expresses himself through art.

BIOGRAPHY

Emanuele Resce is a visual artist whose research weaves together archaic symbolism and contemporary languages to explore the continuity between ancestral knowledge, ecology, and post-human visions. His practice is based exclusively on the use of reclaimed materials, regarded as archives of environmental and cultural memory, collected from marginal contexts such as industrial outskirts and rural areas.

His creative process is open to chance and rejects the idea of total control over matter, allowing a primordial and formless power to emerge. This approach also extends to collective work: in 2019 he co-founded OMUAMUA, an independent space in Milan dedicated to artistic production and transdisciplinary research, and in 2025 he founded the Bosnian Pyramid Residency in Visoko, an international platform for artistic and speculative practices in dialogue with the landscape, deep time, and unconventional knowledge.

Main solo exhibitions: World is a House of Departures, gr_und, Berlin (2026); 3 Cani Paralleli, curated by Tiresia, Carrara (2025); Sinai Phone, Nashira Gallery, Milan (2024); Counter Mythology (by Transpecies), Irpino Museum, Avellino (2023); Al-Khwarizmi, Archaeological Museum, Spoleto (2022); Alban Eluded, Galleria Brera Uno, Milan (2018); Distanza del tempo presente, The Room Studios Gallery, Rome (2017).

Major group exhibitions: IN TRANSFORMATION, Secant Space, Istanbul (2025); ODSKOK, kolektyw pod ciśnieniem, Gorzów Wielkopolski (2025); THE SLIME KNOWS, Brasserie Atlas – Erratum project, Bruxelles (2025); INFERNO, Altous Gallery, Ostrava (2025); CTR+ALT+CANC, ex Leopoldine by DFTM, Florence, KAUGUMMI IM MOTHERBOARD, Gr_und – Erratum Gallery, Berlin (2024); LE GUSA BAJE, Combo, Turin (2024); IMMATERIALITY OF REJECTION, Myymälä2 Gallery, Helsinki (2024); Nascosti alla luce del sole, Nashira Gallery, Milan (2023); La fonte dell’opera, consorzio la Giacinta, Rome (2022); Storie di altre storie, Piazza della Repubblica, Turin (2021); Chronoeye, I fumi della fornace, Macerata (2021); Cambio lavoro, Carrozzeria delle Rose, Milan (2021); Portal iI / 2021, Co-atto, Milan (2021); Dark Hawaii, Omuamua, Milan (2020); Shame mobile residence, Palazzo Santi, Perugia (2020); Zarathustra Desorder, Palazzo Angelini, Benevento (2019)

Statement

Matter-mather-death: the aspects hidden behind the mutual derivation between these three terms seem to emerge in ever-changing forms in the material and methodical experiments with which Emanuele Resce intersects, through his works, aesthetic parameters from different eras. Combining natural and industrial salvaged elements, the artist uses primitive expressive techniques that interpret a dynamic consubstantiality with the non-human. His language evolves following a process that often makes randomness and accidents of path the tools of aesthetic resistance to the anthropic ideology of shaping and subduing the amorphous. The lack of human control over matter thus becomes the way to bring out unexpected profiles of an otherwise la-tent monstrosity. The practice of reusing and integrating materials with which rural contexts have been urbanized, industrialized and then abandoned over the years, present in the suburbs and countryside of southern Italy, where Resce comes from, is reproposed in an almost methodical way in his works. Like fossil witnesses structured through fragments of events, they are the result of pre-constrained occasions derived from residues of constructions and destructions collected and left in the studio without a specifc project, like pre-transmitted messages In the making of his ‘extratemporal beings’ Resce stages a strabismus between ancient and contemporary in which he consecrates representation in the service of execution, and employs the brute datum as the empirical matter of meaning.