03 Firenze Daniela De Lorenzo
Daniela De Lorenzo has pursued her artistic career within the broader confines of sculpture, exploring territory where the contribution of different disciplines such as photography, video art and performance art spawns overlap and encounter among a range of different artistic vocabularies.
After the probing of space and plasticity that marked the beginning of her artistic career, her work began to take on a more temporal connotation in the nineties with the use of lighter materials as a base for her sculpture and an inclination towards photography, offering her the ideal medium for expressing the significance of the metamorphosis of shape.
The artist's favourite material is felt: its lack of warp and weft make it a malleable material that tends to hold the shape of the body, so that her sculptures take on the aspect of anatomical moulds, of hollow, empty and silent shapes that can become the vessel for a different story, the story of a body shaken by hysteria, a theme common to a series of sculptures and a video (Agile, 2005). Her study of collections of 19th century medical photography has allowed the artist to rediscover the specific gestures, postures and contractions of the body, which she then impresses on felt or on coagulates in ceramic.
In De Lorenzo's artistic research, the body is a field of observation and action, thus the languages of photography and of video also end up acquiring the value of a performance. The image is not a result of the construction of the observer's gaze, so much as the result of a concrete fabrication of space, overlap, division and metamorphosis -- all of which are embodied in her attempt to introduce a lasting dimension into instant snapshots, transforming the snapshot itself into an ironic print of the potential.

Daniela De Lorenzo was born in 1959 in Florence, where she lives and works. 

After pursuing her studies at the Istituto d'Arte di Porta Romana in Florence, Daniela De Lorenzo was for several years the artistic travelling companion of Florentine artists Antonio Catelani and Carlo Guaita, with whom she established a relationship based on a shared approach to exactly what is meant by sculpture. In 1985 De Lorenzo began to show her work in major collective exhibitions, including: Aperto 88, XLIII Venice Biennale, Venice, 1988; La scena, Museum Moderner Kunst, Wien, 1991; Una scena emergente, curated by Amnon Barzel and Elio Grazioli, Centro per l'arte contemporanea Luigi Pecci, Prato, 1991; Ultime generazioni, XII National Art Quadriennale, Rome, 1996;Materiali anomali, curated by Danilo Eccher and D. Auregli, Galleria d'Arte Moderna, Bologna, 1997; Continuità. Arte in Toscana, 1990/2000, curated by Jean Christophe Ammann, Centro per l'arte contemporanea Luigi Pecci, Prato, 2002; The Gesture, curated by Sergio Risaliti, Marina Fokidis and Dafne Vitali, Quarter, Florence 2005; L'evento immobile (contrattempi) curated by Cristiana Collu and Saretto Cincinelli, MAN, Nuoro, 2007; Viaggio in Italia, curated by Christa Steinle and Gundrun Danzer, Neue Galerie, Graz, 2008; Guardami. Il volto e lo sguardo nell'arte 1969/2009, curated by M. Franciolli e B. Della Casa, Museo Cantonale, Lugano 2009; Visione, origine e potere. Terna Prize, curated by Cristiana Collu e G. Marziani, Tempio di Adriano, Rome 2010.

She has held personal exhibitions of her work at the Galleria Schema in Florence (1992), Santa Maria della Scala in Siena (1998), the Museo Archeologico in Florence (2004), the Galleria Nicola Fornello in Prato, (2005), the Fondazione Olivetti in Roma (2007); La Gallera in Valencia (2008); the galleria La Nuova Pesa in Rome (2009).


Address: Via di Villamagna 37r, Nave a Rovezzano, Firenze

Address: via di Villamagna 37r, Nave a Rovezzano - Florence
How to get there: by bus, ATAF line 23B - alight at last stop