Daniele Formica 1996
Lives in The Hague, NL. Works in The Hague, NL.
Represented by:
Ellen de Bruijne Projects
Combining cross-disciplinary knowledge and everyday banality, Daniele Formica develops temporary theories on the universe and its people. Through sculpture and performance, Daniele elaborates such theories and shares them with others.
Daniele Formica (1996) was born in Perugia, Italy and currently lives and works in The Hague, The Netherlands. He graduated from the Royal Academy of Art, The Hague in 2019. His work consists of installations and performances and has been shown at art spaces such as NEST and Gallery Paradne, both in The Hague and Omstand, Arnhem. In 2019 Formica won the KABK Fine Arts Bachelor prize.
https://jegensentevens.nl/2021/02/post-corona-with-artist-daniele-formica/
Daniele Formica (1996) was born in Perugia, Italy and currently lives and works in The Hague, The Netherlands. He graduated from the Royal Academy of Art, The Hague in 2019. His work consists of installations and performances and has been shown at art spaces such as NEST and Gallery Paradne, both in The Hague and Omstand, Arnhem. In 2019 Formica won the KABK Fine Arts Bachelor prize.
https://jegensentevens.nl/2021/02/post-corona-with-artist-daniele-formica/
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Daniele Formica’s work comes from the impulse to internalize and re-propose the universe to its people. Combining cross-disciplinary knowledge and everyday banality he composes a repertoire of linguistic revelations, schizophrenic theories and poetic claims. Through sculpture and performance, Daniele orbits around his repertoire and involves others in such movement.
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To sculpt is to transform those realizations into physical matter, attempting to breach the gap between the universe’ empirical and epistemological dimensions.
First of all, the sculptural gesture has to transpire immediacy. Immediacy is the direct transcendence of a manic thought into form; not that I want to perform impulsivity, but rather aim for transparency in the forms around me. Transparency, comparable to clarity in the thought process, is obtained when a sculptural gesture is as close as possible to its original intuition.
With and for immediacy, practicing sculpture explores and stretches the limits of transformation.
Sizes, mediums and dimensions are specifically chosen and accordingly change.
Transformation comes together with an obsession for a material and form epistemic background. (as philosophy, art and science grow older; the knowledge around materials, forms and phenomena also grows vaster). Combining subjective (memory, friends and acquaintances) and objective databanks, my research schizophrenically juxtaposes all sort of references to satisfy my thirst for knowledge and comprehend the intrinsic existence of my physical surroundings. This research makes it so that traces of any episteme are found in the work, and a specific sculpture consists of a specific cluster and amalgam of multidisciplinary knowledge.
With the work founded upon immediacy and transformation, sculpting is experienced through its sensorial, emotional, linguistic and epistemic registers. Handwriting, drawing, cutting, sewing, molding, appropriation, selection of ready-mades, painting and photography are found to behold such principles. The sole restriction to the sculptural process is then its proximity to the body, bodily proportions and measures.
The repertoire can be seen as an ongoing process that manifests as an extension of the conscious, a physical re/construction of the mind. I poetically approach it as a cosmological phenomenon to underline its universal motion and its transcendental nature. As music scores, I repeat sculptural processes and interpret new aspects from their registers. As compositions, series of works and processes are selected and combined in installations to test different constellations of a thought or new possibilities of an older intuition. Through this installing process works often happen to be repurposed and revisited to stretch even further their transformative potential.
Performance comes with a whole new element added to the repertoire: the vulnerable declamation, when I publicly reveal a part of the repertoire and demonstrate it to the audience.
It is vulnerable because the repertoire is undressed of its physical shells –and so am I, as its medium.
It is a declamation because I publicly speak out excerpts of the repertoire.
The repertoire, as of today, does not exist in written text form, but only in its transcendental form (I believe writing the repertoire can be very harmful for its autonomous life). This is to say that my performances are never scripted and that all that comes out of my mouth has never been read, only spoken and heard. When I rehearse, I therefore have to dive into my mind (while still keeping control of my body) to drag to the surface the neural pathways containing the required cluster of knowledge. It is not farfetched to say that one performance happens on the outside -in the real- and one performance happens on the inside, through the brain electric impulses and their metaphysical projections.
This is why I speak of the conscious action of orbiting. Adopting a natural and comforting attitude and an explicative language, I take the audience by the hand to flow together through the open repertoire. In doing so we think together and draw our own meanings, experiencing our human condition of floating in an ever expanding universe somewhere between the stars and the nervous system.
Sometimes this metaphysical dimension is also literally part of the work, like in “The Death of The Death of The Death of BILL” (2019) where particles of my sweat and dead skin are paradoxically sealed alongside my yellow tracksuit; sometimes it is conveyed in the narrative, like in “A chair walks into a house” (2019), where through my voice 7 inanimate IKEA Gunde chairs are transformed into travellers, explorers, invaders, dictators and revolutionaries of domestic social furniture environments; and sometimes it is a combination of both, see “A comedy for 3 Dantes” (2020) where 3 humans wearing red capes and caricatural noses perform a series of improvised conversations and through absurdity, paradox, theatre and poetry, they attempt to incarnate Dante himself. >>
Formica’s repertoire is ultimately composed with the intention to share his passionate perception of a multi-layered and pluridimensional universe; and played for other humans to cultivate genuine curiosity for a life embedded in the occurrence of space-time; with the awareness that to contemplate is to set in motion new possibilities of the universe’ revolution.
<
To sculpt is to transform those realizations into physical matter, attempting to breach the gap between the universe’ empirical and epistemological dimensions.
First of all, the sculptural gesture has to transpire immediacy. Immediacy is the direct transcendence of a manic thought into form; not that I want to perform impulsivity, but rather aim for transparency in the forms around me. Transparency, comparable to clarity in the thought process, is obtained when a sculptural gesture is as close as possible to its original intuition.
With and for immediacy, practicing sculpture explores and stretches the limits of transformation.
Sizes, mediums and dimensions are specifically chosen and accordingly change.
Transformation comes together with an obsession for a material and form epistemic background. (as philosophy, art and science grow older; the knowledge around materials, forms and phenomena also grows vaster). Combining subjective (memory, friends and acquaintances) and objective databanks, my research schizophrenically juxtaposes all sort of references to satisfy my thirst for knowledge and comprehend the intrinsic existence of my physical surroundings. This research makes it so that traces of any episteme are found in the work, and a specific sculpture consists of a specific cluster and amalgam of multidisciplinary knowledge.
With the work founded upon immediacy and transformation, sculpting is experienced through its sensorial, emotional, linguistic and epistemic registers. Handwriting, drawing, cutting, sewing, molding, appropriation, selection of ready-mades, painting and photography are found to behold such principles. The sole restriction to the sculptural process is then its proximity to the body, bodily proportions and measures.
The repertoire can be seen as an ongoing process that manifests as an extension of the conscious, a physical re/construction of the mind. I poetically approach it as a cosmological phenomenon to underline its universal motion and its transcendental nature. As music scores, I repeat sculptural processes and interpret new aspects from their registers. As compositions, series of works and processes are selected and combined in installations to test different constellations of a thought or new possibilities of an older intuition. Through this installing process works often happen to be repurposed and revisited to stretch even further their transformative potential.
Performance comes with a whole new element added to the repertoire: the vulnerable declamation, when I publicly reveal a part of the repertoire and demonstrate it to the audience.
It is vulnerable because the repertoire is undressed of its physical shells –and so am I, as its medium.
It is a declamation because I publicly speak out excerpts of the repertoire.
The repertoire, as of today, does not exist in written text form, but only in its transcendental form (I believe writing the repertoire can be very harmful for its autonomous life). This is to say that my performances are never scripted and that all that comes out of my mouth has never been read, only spoken and heard. When I rehearse, I therefore have to dive into my mind (while still keeping control of my body) to drag to the surface the neural pathways containing the required cluster of knowledge. It is not farfetched to say that one performance happens on the outside -in the real- and one performance happens on the inside, through the brain electric impulses and their metaphysical projections.
This is why I speak of the conscious action of orbiting. Adopting a natural and comforting attitude and an explicative language, I take the audience by the hand to flow together through the open repertoire. In doing so we think together and draw our own meanings, experiencing our human condition of floating in an ever expanding universe somewhere between the stars and the nervous system.
Sometimes this metaphysical dimension is also literally part of the work, like in “The Death of The Death of The Death of BILL” (2019) where particles of my sweat and dead skin are paradoxically sealed alongside my yellow tracksuit; sometimes it is conveyed in the narrative, like in “A chair walks into a house” (2019), where through my voice 7 inanimate IKEA Gunde chairs are transformed into travellers, explorers, invaders, dictators and revolutionaries of domestic social furniture environments; and sometimes it is a combination of both, see “A comedy for 3 Dantes” (2020) where 3 humans wearing red capes and caricatural noses perform a series of improvised conversations and through absurdity, paradox, theatre and poetry, they attempt to incarnate Dante himself. >>
Formica’s repertoire is ultimately composed with the intention to share his passionate perception of a multi-layered and pluridimensional universe; and played for other humans to cultivate genuine curiosity for a life embedded in the occurrence of space-time; with the awareness that to contemplate is to set in motion new possibilities of the universe’ revolution.
CV
Perugia, Umbria, IT, 1998
Lives and works in The Hague, NL
SOLOSHOWS:
2021
Boys by the pool, Ellen de Bruijne Projects, NL
2020
Unfair TM, Westergas, Amsterdam,NL
2019
Graduation Fesivtal, KABK, The Hague,NL
GROUPSHOW:
2021
A future unknown to me, except as the whisper of a plea, Ellen de Bruijne Projects, NL
Art Rotterdam , Ellen de Bruijne Projects, NL
2020
Wide Angle on Happy Valley, De Helena, The Hague,NL
Not only about food, Vrij Paleis, Amsterdam, NL
Case Study Exhibition #1: contribution Show, Hgtomi Rosa, The Hague,NL
Summer Exhibition, Ellen de Bruijne PROJECTS, Amsterdam, NL
2019
The Handshake, Hgtomi Rosa, The Hague, NL
Ernstig Geschikt! Omstand, Arnhem, NL
The ldiots, Trixie, The Hague, NL.
2018
A Foreign Affair, KABK, The Hague, NL,
The Middleman, KABK, The Hague, NL,
What to Expect when you are Expecting, Billytown, The Hague,NL,
PROJECTS, PERFORMANCES:
2020
A Comedy for 3 Dantes. Ellen de Bruijne PROJECTS, Amsterdam,NL
Case Study Exhibition #1: Daniel Dmyszewicz, Hgtomi Rosa, The Hague,NL
Rock Talk,Hgtomi Rosa,The garden, De Besturing, The Hague,NL
What do you think of my drawings, Hgtoml Rosa, The Hagua, NL
2019
The Death of The Death of The Death of BILL, Omstand, Arnhem; KABK, The Hague, NL
A Chair Walks into a House, Gallery Paradne, The Hague, NL
2019-2020
Food Tour, Trixie, The Hague. NL; Vrij Paleis, Amsterdam, NL
2018
PIP EXPO x The Hague Contemporary, PIP, The Hague, NL
Kino, Nest, The Hague, NL
EOUCATION, INITIATIVES;
2019-2021 Hgtomi Rosa, The Hague, NL
2015-2019 BFA, Koninklijke Academie van Beeldende Kunsten,The Hague,NL
GRANDS AND PRIZES:
2020
Stroom PRO invest grand
2019
KABK Fine Arts Bachelor award
REVIEWS AND PUBLICATIONS:
2021
Jegens & Tevens, Post Corona with artist Daniele Formica, article Frits Dijks.
2020
Jegens & Tevens, The Rock Talk Project
2019
Metropolis M Eindexamens 2019, article by Jorik Amit Galama.
Lives and works in The Hague, NL
SOLOSHOWS:
2021
Boys by the pool, Ellen de Bruijne Projects, NL
2020
Unfair TM, Westergas, Amsterdam,NL
2019
Graduation Fesivtal, KABK, The Hague,NL
GROUPSHOW:
2021
A future unknown to me, except as the whisper of a plea, Ellen de Bruijne Projects, NL
Art Rotterdam , Ellen de Bruijne Projects, NL
2020
Wide Angle on Happy Valley, De Helena, The Hague,NL
Not only about food, Vrij Paleis, Amsterdam, NL
Case Study Exhibition #1: contribution Show, Hgtomi Rosa, The Hague,NL
Summer Exhibition, Ellen de Bruijne PROJECTS, Amsterdam, NL
2019
The Handshake, Hgtomi Rosa, The Hague, NL
Ernstig Geschikt! Omstand, Arnhem, NL
The ldiots, Trixie, The Hague, NL.
2018
A Foreign Affair, KABK, The Hague, NL,
The Middleman, KABK, The Hague, NL,
What to Expect when you are Expecting, Billytown, The Hague,NL,
PROJECTS, PERFORMANCES:
2020
A Comedy for 3 Dantes. Ellen de Bruijne PROJECTS, Amsterdam,NL
Case Study Exhibition #1: Daniel Dmyszewicz, Hgtomi Rosa, The Hague,NL
Rock Talk,Hgtomi Rosa,The garden, De Besturing, The Hague,NL
What do you think of my drawings, Hgtoml Rosa, The Hagua, NL
2019
The Death of The Death of The Death of BILL, Omstand, Arnhem; KABK, The Hague, NL
A Chair Walks into a House, Gallery Paradne, The Hague, NL
2019-2020
Food Tour, Trixie, The Hague. NL; Vrij Paleis, Amsterdam, NL
2018
PIP EXPO x The Hague Contemporary, PIP, The Hague, NL
Kino, Nest, The Hague, NL
EOUCATION, INITIATIVES;
2019-2021 Hgtomi Rosa, The Hague, NL
2015-2019 BFA, Koninklijke Academie van Beeldende Kunsten,The Hague,NL
GRANDS AND PRIZES:
2020
Stroom PRO invest grand
2019
KABK Fine Arts Bachelor award
REVIEWS AND PUBLICATIONS:
2021
Jegens & Tevens, Post Corona with artist Daniele Formica, article Frits Dijks.
2020
Jegens & Tevens, The Rock Talk Project
2019
Metropolis M Eindexamens 2019, article by Jorik Amit Galama.
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