Descrizione Opera / Biografia
Federico Del Vecchio (Naples, 1977). He is engaged in an independent artistic practice as well as co-curator of flip project space. After finishing his studies at the Academy of Fine Art in Naples, he attended the Städelschule in Frankfurt am Main, followed by completing the Master in Fine Art at The Glasgow School of Art. He was then at the HIAP – Helsinki International Artist in residence Program supported by 2012 Movin’ Up prize for the mobility of young Italian artists abroad. He is the recipient of the Marie Curie Research Fellowship 2015 at the University of Ljubljana, Slovenia. He has taken part recently at the Banff residency program, Alberta, CA, thanks to the support from financial aid of the Banff Centre and Nctm e l’arte: Artist-in-residence VIII edition, Milan, Italy.
Del Vecchio’s most recent workshops, solo and group exhibitions include: Feelings, curated by Camille Gérenton and Anouchka Oler, Brussels, BG (2017); Big Opening, Riverside, Worblaufen, Bern, CH (2015); I wish I were a Futurist, Jenifer Nails, Frankfurt am Main, DE (2014); Come, All Ye Faithful, curated by Carson Chan, Florian Christopher, Zürich (2013); I am sitting in a room different from the one you are in now, curated by Marysia Gacek, 109 Gallery, Brooklyn, NY (2013); MFA International Show, Künstlerhaus Bethanien, Berlin (2012); Villa del vecchio, Gum, Carrara (2011); Persona in meno, curated by Erica Cooke, Angelique Campers, Chris Fitzpatrick, Sandretto Re Rebaudengo, Turin – Palazzo Ducale, Genova (2010);
No vitrines, No Museum, No Artists. Just a Lot of People, an international Workshop with Rirkrit Tiravanija, by Domus Academy and Maurizo Bortolotti at Telecom Italia Future Centre, Venice, Italy (2004)
My father has always been the representation of a true gentleman for his sons and for those who know him. His behavior, attitude, fixations, etiquette, hand made custom clothes, belong to a hereditary aristocracy that is no longer manifested in a healthy economic security, rather in a constant precariousness that accompanies our contemporary existence.
I have often used elements of vintage objects in my work; I’m drawn to the idea that we all make a journey from the past to the future, though never leaving the present. The watch is here a fetish object and yet encompasses the organizational structure called time. It is the struggle with time, the anxiety of time, and the difficulty to follow it. This parallels being outside time like the cosmic universe yet the ticking away reminding that there is time, and death is the proof.
The overwhelming state of time forms an obsession, a personal time relation that is not corresponding to the general commonly agreed time structure. As explored through Lacan’s seminars on the obsessional structure, this is the function, which causes a sort of time procrastination, or in other words not entering time, and maybe just staying in a state of “cosmic time” as a way to avoid death by becoming part of the space beyond death.
The booklet becomes an abstraction of the everyday; my personal experience involved in an 18-month in a research fellowship at the university of Ljubljana. There the lack of a studio-practice is replaced by the meticulous record of food crumbs that fell on my desk, captured as photocopy.
General Art Statement
The nature of my art practice is centred around the ’object’ and objecthood in contemporary practice. Specifically drawing from the contextual performance of these objects in terms of what it withholds and projects within the everyday. I believe in the everyday as the site of a fundamental ambiguity: it is both where we become alienated and where we can realize our creativity.
My artistic production takes form as investigations of the ‘everyday’, particularly as it exhibits an absence that cannot be approached cognitively. The objects of my instillations become the mediators that shift realities into new experiential domains, beyond the everyday, transported into another kind of spatial parallel. The agency and power of the object is made tangible, building narratives that expose the drive of our behaviours and form the representation of ourselves within our surroundings. In this instance the object becomes the carrier of us and our subjective self. It functions as an activator moving in time and place abstracted from its various social, urban, personal, intimate conditions to enable ’new’ theatrical conditions.