13.12.09 | 05.04.10

Heaven 2008 / 2009 Mirror-portraits-stress of our society 2009 Fraught Times: For Eleven Months of the Year it's an Artwork and in December it's Christmas (October) 2008 Many 2009 Natural Historie on the altar Natural Historie on the parapet 2008 Dolphin 2002 Worker 2006 Paravent 2008 Daybed 2998 Dass Kapital ist Kaput? Ya? Nein! Dummkopf! 2008 Rivers of Blood 2007 Ship of Fools 2009 Disasters of War III 2000 Men move an engine block 2008 Mbreti dhe Mbreteresha 2007 Manhole 2000 Moulin Rouge 2009 Romeo e Giulietta 2006 432 Hz 2009 Puppets 2009 Black Sun 2004 Saint Bartholomew, Exquisite Pain 2006 Black Sheep, Divided 2008 Lost Memories and Dreams Forgotten 2008 / 2009 Chaplet 2009 FAEZEH 2008 Untitled (# 471) 2008 Smash Armed faith Rosetted 2008 Bombers 2006 Europe Supported by Africa and Asia 2009 V Shadow 2005 Moon Shadow 2005 Dark Brother 2005 Crepe nel tempo 2009 Is freedom therapeutic? 2009 Cremaster 3: The Five Points of Fellowship 2002 Untitled 2009 Ora 2008 Etude Documentaire. Le Drapé- le Baroque. Sein unique: monstration phallique Reliquaire Ma chair, le texte et les langages (grand reliquaire anglais) 1993 Reliquaire Ma chair, le texte et les langages (grand reliquaire italienne) 1993 Le Drapé- Le Baroque Étude documentaire en marbre : Le Drapé-le baroque. Buste d'ORLAN en sainte ORLAN 1978 Vierge blanche aux deux croix et au regard en coin (white virgin with two crosses and a sidelong look) 1983 Vierge Noire Manipulant une croix blanche et une croix noire (Black virgin wielding white cross and black cross) 1983 Operation Reussié , 1991, 8’30’’ Omnipresénce , 1993, 1h 20’ 1977 - 1993 Opération-chirurgicale-performance n°7 dite Omniprésence Gros plan sur un des rires 1993 Relational 2009 Four Seasons 2009 Untitled 2009 Untitled 2008

Lara Favaretto

Tutti giù per terra (We all fall down)

2004 - 2009

Courtesy :

The poetic of Lara Favaretto centres on the theme of time and motion. The artist openly renounces her individuality by involving various skilled workers in the creative process and giving the public a fundamental role in the result of the work, which becomes a relational artifice. The artistic object is eroded through a process of metamorphosis and transformation, arriving at the almost definitive disappearance of the material. Her works often have a playful quality which subtends the dualism of their festive dimension: the moment of initial euphoria and that of the final melancholy. Tutti giù per terra (All fall down) is a “bachelor machine” that occupies the case of the nineteenth-century mechanism of the clock of Palazzo Donnaregina, in which red confetti is blown by fans at regular intervals, creating ever-changing landscapes of dunes. The artist completely annuls the aesthetic-formal aspect of the work of art, which “lives” in time and expectation, proving definitively elusive. An intangible “sculpture” that reinterprets the Baroque festive machinery by its ephemeral nature, but with a subtle psychological impact due to its allegorical intensity.

Treviso 1973
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