It is really strange: After all, this artist was in the last ten, twelve years of the Biennale, the Manifesta up to the sculpture. Projects in Münster represented at pretty much every major event of contemporary art. And yet one knows the name Lara Favaretto in Germany to date. This will get anyone who has ever seen one of their interventions, the least of your Work out of mind. For example, your “Momentary Monument” in Münster, or its Installation, the various media sampled disaster images in a huge pile of junk translated at the Documenta 13.

Christoph Schütte

a Freelance writer based in the Rhein-Main-Zeitung.

F. A. Z.

for “Need or no Need”, the title of the first solo exhibition in a German-speaking country, which has her set up now, the Mainz Kunsthalle, the all. The art of the 1973-born Italian in the Mainz customs port shall, on first glance, especially abundant brittle. A handful of blocks of concrete in the vast, gleaming white the first room, a bookshelf, and a like Accidentally parked and then forgotten suitcase in the second, and, at the end of the sequence, various steel plates, the appearance, as Richard Serra had strained his back very neatly: This is almost everything Favaretto staged here in subtly developed dialogues full of suspense. And yet your work at all is not about conspicuous presence in the room is crucial Disappearance, beauty, death and decay.

The process in focus

“images”, basically, like art hall, Director Stefanie Böttcher formulated, and it does, in fact, quite accurate. Whether you are searching for “Snatching” with your hands is a strong track in the not yet hardened concrete, a block of marble to be turned into dust and nothing to see or hear than that of a non-stop Hammering, banging, bursting, Beating, or if she grabs every year a suitcase with your own clothes – only to then throw away the key: it is Always the Turin artist in the process. And, perhaps more than anything else, this one, in an image, in Sound and gesture solidified the moment in the endless continuum of time. Little more.

But if it goes well, appear each one of these rare moments of pure poetry. Basically, says Lara Favaretto, try to give each of their works give the viewer a day. And whether you pack yourself a suitcase with the Plunder, of which one may not separate for years, absolutely, how the artist throws over hours of an eraser on the Studio wall or to dive right here in front of Favarettos “Momentary Monument – The Library” in one of the books decides, again and again, it’s surprising, of course. The most of this shelf, on closer inspection, tend to be moderately original, and you have books for the Emperor Frederick III days, for the “plain text” Jürgen Möllemanns or Lilli Palmer’s “Dicke Lilli, gutes Kind” not necessarily still be interested.