Francesco Albano (born 1976, ITALY) is an artist and professor living and working in Palermo, Italy.
Since 2017 he has been teaching Contemporary Plastic Techniques at the Academy of Fine Arts in Palermo. Albano had numerous solo exhibitions including Four or Five Exercises of Acephalia at Oktem Aykut, Istanbul, Turkey (2019) and After Grünewald at Robert Kananaj Gallery, Toronto, Canada (2016). His participation in international group shows includes “Grief and Pleasure” at OMM- Odunpazari Modern Art Museum (2023) Eskisehir, Turkey, “8th Anniversary” at Robert Kananaj, Frenetic Standstill, Artissima Unplugged, Palazzo Madama, _Torino, Italy and Lo Stato dell’Arte, 54th Venice Biennial, Pavillon Italia - Academy of Fine Arts section. His work is held in major public and private collections including the Omer Koç Collection. Several works of Albano, were exhibited at the “Pulsanti Aperietur” group show in Istanbul on the occasion of the 15th Istanbul Biennial (2017) and published in the show’s catalogue by Omer Koç Collection. Francesco Albano is the recipient of the MIUR Italian National Prize of Arts (2005) and he is also participating at international sculpture symposiums including Resistencia, El Salvador (2019), and X International Itinerant Sculpture Symposium, Honduras (2016).

Albano’s contributions to the symposiums in Honduras and El Salvador, aim to draw a statement on the social function of plastic arts: according to Albano, sculpture is in fact an important factor for community improvement, promoting a bottom-up approach in community governance and expression, outside the logic of art and its market.

Through the feedback loop of the object trouvè and found plasticity in materials such as polyurethane and polyester, at the core of his multimedia work, Francesco Albano investigates how body, culture, and social critique are intertwined with the mediation and production of subjectivity by plasticity and circulation of forms. Albano’s work continues to confront bodily identities in consumer culture and explores the history of imposed identities on bodies by using sculpture as a visual platform. His practice integrates the idea of “time-trespassing” bodies while acting as a space on how objects, through their function, gain control over the subjects who look at them, reflecting on bodily autonomy, sexuality, and“Self”pushing these questions into new material territories.