EN_All The Synecdoches And Metonymies

11/03/2026

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30/04/2026

Exhibitions

Andrea Romano

All The Synecdoches And Metonymies In The World Make Up One Great Metaphor

Federica Schiavo Gallery is pleased to present “All The Synecdoches And Metonymies In The World Make Up One Great Metaphor”, the first solo exhibition in Rome by Andrea Romano. The title offers a reflection on language and reality as simultaneously fragile and poetic. The artist evokes the attempt to achieve a unified understanding of his personal trajectory – one that intertwines artistic practice and private life – but which ultimately manifests itself in fragmented forms, residues, and reflections. This serves as a reminder of the impossibility of grasping its totality except through fragments, deviations, and discontinuities.

The exhibition brings together works from different bodies of work developed concurrently over the years, showcasing recurring elements that intertwine, creating a dialogue between the various phases of his artistic research. The overlap and combination of mediums and languages reflect Romano’s interest in realities in which multiple facets coexist, thereby resisting a singular definition of the artwork. Among the works, we encounter subjects engaged in actions attempting to preserve the letters that form a title (“Flying Title Two”, 2025; Slimy Title One, 2024).

A white tiger, afflicted with physical malformations resulting from planned crossbreeding, is encased in a thick marble frame that, while protecting it, also accentuates its aesthetic qualities (“Fresh Fur, Silver Tongue Two”, 2025). An object conceived as a representation of a vinyl cover, referring to a content that does not exist and remains only evoked (“Cover of Life, Baby Kenny, The Hunt for Friendship, Love and Success”, 2025). Words that reflect not only on the nature of images but also on relationships, preserved in an ostensibly intimate space (“Drawer Bottom (13)”, 2022).

A series of photographs that tell the physical interactions of the artist’s friends during the making of a sculpture destined to disintegrate over time (“Cast of Pillow, Marco Mother Mold 1, 2”, 2013-2024). What was originally only the title of the “Claque & Shill series” (2011-2017) now assumes the self-referential form of autonomous works. The “claque” refers to a group of individuals coordinated to either applaud or boo a performance in an attempt to influence the audience’s reaction. The “shill” is a person who, whether knowingly or unknowingly, draws attention to a product or service, thereby encouraging those around them to make a choice.

These figures occupy an intermediary space between lived experience and its representation, serving as exemplary of a dynamic that exceeds the formal boundaries of the artwork to encompass the interpersonal realm.