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Favaretto LaraAn Italian artists living and working in Turin. In 1999 she graduated from the Academia di Belle Arti di Brera in Milan. In 1998 she participated in an advanced visual arts course run by Hamilton Fulton in Fondazione Antonio Ratti in Como. She also received a scholarship to study at the Kingston University in London. She is a laureate of the Querini Stampalia Award for a young Italian artist (2001) she was the New York Studio Program PS1 scholarship holder from 2002-2003 and received a scholarship for a young Italian artist awarded by the Castello di Rivoli in Turin (2004). In 2005 she was one of artists presenting their works in the Italian Pavilion in Venice during the 51st Venice Biennial, where she also received an award. Her works can be found in the MAXXI (National Museum of Art of the 21st century) collections, in the Spanish MUSAC, Deutsche Bank collections in Milan. In she has become a laureate of the Premio ACACIA. She has presented her works at individual exhibitions in Italy, Spain, Great Britain, Germany and Switzerland. Currently, she is preparing presentations in the PS1 MOMA in New York and a project for Documenta 13 in Kassel. She has participated in over eighty exhibitions around the world. |
DoingThe proposal of an Italian artist consisted in creation of a sound installation which was placed under the Grunwaldzki Bridge: its sound was heard inside the arch under the bridge, but it was not go too far outside. The installation had the character of a delicate interference in space; it was heard only by people who were particularly sensitive to the surrounding environment. At the same time, by contrasting the sound of a hammer carving a form in marble (Doing) with the noise and sound chaos present in the space around the bridge, the action of the Italian artist was on the verge of musique concrète and music a rebours. The artist did not seek street sounds which were worth recording: she wanted to introduce a kind of instrument to this environment which did not welcome musical contemplation, she wanted to turn the bridge into an instrument generating sounds. The essence of the Doing project was transplanting of sounds from one space, with which they were naturally connected (a stoneworker’s shop) to the other – where they sounded strange and were the source of anxiety. They may suggested that some works were being conducted at the bridge, ones that were invisible but could be heard. The project may had been interpreted in the spirit of unveiling or temporary revealing of a complex structure and reality, whose visible surface hid constant “work”: construction, reconstruction, destruction. Curator: Marta Raczek |
10 - 24/06/2011
Doing
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