Info
As an afropean artist, my practice engages with cultural and intellectual diversity and investigates the global systems that shape perception, memory, and belonging. In an era defined by technological acceleration, data, and mobility, I explore how these dynamics influence the way knowledge and experience are constructed and circulated.
My work operates between science, photography, and imagination. By combining chemical, physical, and digital processes, I remove everyday objects and scenes from their usual contexts to generate new visual configurations. Through this transformation, the familiar becomes unfamiliar, creating a space where visibility and invisibility, remembrance and disappearance intersect.
At the core of my practice is an inquiry into collective memory and the structures of power that decide which histories are remembered and which are neglected. The archive, for me, is both wound and mirror: a place where the image becomes evidence of erasure. Through the reassembly of fragments, materials, and images, I construct narratives that reflect on memory, ecological and economic interdependencies, and the instability of perception in a globalized world.
My artistic approach is guided by the belief that making fractures, transitions, and uncertainties visible can be an act of resistance and a way to imagine new forms of responsibility and connection within contemporary society.
My work operates between science, photography, and imagination. By combining chemical, physical, and digital processes, I remove everyday objects and scenes from their usual contexts to generate new visual configurations. Through this transformation, the familiar becomes unfamiliar, creating a space where visibility and invisibility, remembrance and disappearance intersect.
At the core of my practice is an inquiry into collective memory and the structures of power that decide which histories are remembered and which are neglected. The archive, for me, is both wound and mirror: a place where the image becomes evidence of erasure. Through the reassembly of fragments, materials, and images, I construct narratives that reflect on memory, ecological and economic interdependencies, and the instability of perception in a globalized world.
My artistic approach is guided by the belief that making fractures, transitions, and uncertainties visible can be an act of resistance and a way to imagine new forms of responsibility and connection within contemporary society.
short bio
Verdiana Albano (*1993) is an Afropean lens-based multidisciplinary artist whose work navigates fragmented memories and circles around socio-ecological themes. Her photographs and installations reassemble remnants of a world shaped by forgetting, displacement, and power structures.
Albano’s practice builds on this paradox, using the instability of memory and imagination to expose the sociological conditions that govern how histories are produced, circulated, and silenced. Her process is rooted in the belief that to remember collectively, we must also question the structures that determine whose histories are preserved and whose are lost. Through rethinking imagery, she constructs new visual narratives that negotiate global interdependencies, memory, and economic inequality.
Albano studied Art at the University of Arts and Design Offenbach, with a DAAD-funded stay at the Sichuan Fine Arts Institute in Chongqing, China. Recently she finished the master class at Ostkreuzschule Berlin. She is part of the Art Collection Deutsche Börse.
Her work has received recognition through the ISO 5000 Prize, Bavarian Innovativ’s Stipend, and multiple Stiftung Kunstfonds grants. Exhibited internationally, including at Les Rencontres de la Photographie d’Arles, Albano also lectures at HfK Bremen and founded the Afrodiasporic artist network Institute Contemporary supported by the Allianz Foundation Fellowship 2024. She lives and works between Frankfurt and Berlin.
Albano’s practice builds on this paradox, using the instability of memory and imagination to expose the sociological conditions that govern how histories are produced, circulated, and silenced. Her process is rooted in the belief that to remember collectively, we must also question the structures that determine whose histories are preserved and whose are lost. Through rethinking imagery, she constructs new visual narratives that negotiate global interdependencies, memory, and economic inequality.
Albano studied Art at the University of Arts and Design Offenbach, with a DAAD-funded stay at the Sichuan Fine Arts Institute in Chongqing, China. Recently she finished the master class at Ostkreuzschule Berlin. She is part of the Art Collection Deutsche Börse.
Her work has received recognition through the ISO 5000 Prize, Bavarian Innovativ’s Stipend, and multiple Stiftung Kunstfonds grants. Exhibited internationally, including at Les Rencontres de la Photographie d’Arles, Albano also lectures at HfK Bremen and founded the Afrodiasporic artist network Institute Contemporary supported by the Allianz Foundation Fellowship 2024. She lives and works between Frankfurt and Berlin.