Emanuele Resce

Emanuele Resce was born in Benevento in 1987.
After graduating from Benevento High School of Art in 2006, Emanuele Resce moved to Germany, first to Munich then to Saarbruken, later settling in Milan where he currently lives and works. His artistic practice, resumed in 2013 after a long period of political activity, took place for the most part in working studios shared with other young artists who came from different backgrounds and experiences. A circumstance, that of the socialization of a physical place like the studio, which fostered a fruitful interchange. In the wake of this experience, in Milan in 2019 he
co-founded OMUAMUA, an expanded community of artists orbiting around a 270 m2 space conceived as a relational activator for the generation of new perspectives for contemporary art.
In 2021, the professional and human encounter with Valentina Avanzini (Parma, 1995, researcher) gave birth to The TRANSPECIES research project. The common need to trespass from known practices in order to imagine a different contact with the world from a sociological, ecological and historical point of view started a series of insights still evolving through publications, exhibitions and documentaries.


Main solo exhibitions: 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: 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).



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.


Nascosti alla luce del sole


Suoni dalla materia


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