A table liberty. A gold frame of the late nineteenth century. A chandelier like Maria Theresa of Austria. Could it be the rich gift of an inheritance or the hidden treasure of an old attic. But these are the works of Flavius \u200b\u200bFavelli, Florentine artist, but Bologna adoption, just awarded the 2009 Marconi Award for sculpture / environmental art. International event, established in Bologna, anchored since its birth to the combination of art and science and the concept of communication. This year, made more alive than ever allocation for the centenary of the famous Nobel scientist who gives his name. And confirmed as source of new ideas thanks to Flavio Favelli.
Its operations are genuine appreciation objects. Various household goods and furniture from the past, through subtle interventions, acquire a new dignity, sometimes a different function, a new lease of life. Each object is treated only as a synthesis of form and matter, but as a real store of memory and memories, medium dynamic interplay between past and present. fascinating object trouvé with the addition of manual processing and handicraft. Ready to take on the passage of new lives and to identify new spaces.
For the awards ceremony, held April 25, has completed an installation in the cloister of San Giovanni in Monte. Has not published an essay or a catalog, like his colleagues, but has created a brochure with reworkings of event sponsors that interact with the logos themselves. In this case, a reworking of the logo and not the object. A brochure becomes work itself. Bo_To_Go decided to take this opportunity to award from the Marconi and ask him why ... some
- His works reveal a strong link with a time of magic and lost its life. Me talk.
- As a child, of course, I was convinced to live in a world of my own: it was like being inside a closed box, but transparent for me. Then you perceive certain sounds, a phrase of his grandfather, a color of a tie, the moments thesis. There is defended, it all seems a film, a performance, there is with apparent calm. It is believed to be immune. But even the most trivial, then re-emerge with insistence. I remember my mother wearing the shoes when, out of school, an acquaintance said, "Madam, Moro was kidnapped!" Yeah, those shoes ...
- Studies in Eastern History as influenced in his artistic career?
the end-all effect. I realized that everything I had studied could not be something useful and feasible for my future. I do not remember why I suggested the professor of Persian "The message of Kafka," but I accepted it now: I was forced to read texts that somehow I could help.
In October 1992, the professor called me and told me that dried for several months since we had chosen the title of the thesis, I had not done more to hear. I was afraid to move forward.
... K. long remained on the wooden bridge that leads from the main road to the village, watching the apparent void.
professor's concern for my choice is not simple, the memory of a young researcher who had asked me if I was over ...., jew, we talked about my father.
... Dony An-na-Qadr bonbast ham bude ast ... at the bottom of the world is a dead end. often comes back to me this phrase Hedayat, who accompanied me throughout the year; get rid of it was not easy.
The need to dwell on memories, images, experiences, understand them and, just like when I started studying, then Mesopotamia and Persia were the ancient architecture, the religious thoughts, the towers of silence and then the gardens, mosques, Islam a thousand multi-faceted, and my pictures often mingled with them.
- His works, often being usable and livable, interact, interact with the viewer. What is the value that gives this relationship between object and viewer?
- and apparently I would say potentially. I do not seek dialogue. The relationship is between me and my images. The works I have done are bar- exception, there the project relates to the use.
- What is the relationship between his art and the original operation performed with the brochure, published on the occasion of the award Guglielmo Marconi?
- The leaflet was advertising. I did not want the publicity by my works. I made a brochure of drawings on the theme of advertising and brands.
- Among the brands, including some not directly related to the telecommunications world, and less tied to the concept behind the award, and not included among the sponsors. Such as the Martini, Lavazza and a beer of China. Why are these intruders?
- Some companies are trademarks of the history of communication and not only of our country and trademarks are also part of our history. I made a book of premium brands and those of my favorites.
- What is the technique used for these works?
- Colored pencils on paper.
- In general, do you think there is a link between the phenomenon of vintage art and its operations?
- The phenomenon of the vintage in quality and value, use objects that have personal value, emotional sometimes morbid: who decides what the costume-the-past is important, in my work I decide.
- We often talk about meeting inseparable between the language of art and design, so that, in this regard, Germano Celant refers to the formation of a "new aesthetic status." What is your position on this?
- An object made of wood with four legs is a chair if it makes a designer, is a sculpture if an artist does. I personally use original materials and objects, often unique, and I never remember a reproducibility of my work so I am very far from the design. This also applies to some projects such as the bar that I did it because they too are not playable and I never thought about an industrial mass production.
- What are your future plans?
- A large (why use the three floors of museum) exhibition at the Museo Marino Marini in Florence on 16 June. It's called Dress vs. Habitat because the sun burns with ozone, the water is cold even if it is pure and the wind, as they say, makes them crazy.
Leonardo Iuffrida
Its operations are genuine appreciation objects. Various household goods and furniture from the past, through subtle interventions, acquire a new dignity, sometimes a different function, a new lease of life. Each object is treated only as a synthesis of form and matter, but as a real store of memory and memories, medium dynamic interplay between past and present. fascinating object trouvé with the addition of manual processing and handicraft. Ready to take on the passage of new lives and to identify new spaces.
For the awards ceremony, held April 25, has completed an installation in the cloister of San Giovanni in Monte. Has not published an essay or a catalog, like his colleagues, but has created a brochure with reworkings of event sponsors that interact with the logos themselves. In this case, a reworking of the logo and not the object. A brochure becomes work itself. Bo_To_Go decided to take this opportunity to award from the Marconi and ask him why ... some
- His works reveal a strong link with a time of magic and lost its life. Me talk.
- As a child, of course, I was convinced to live in a world of my own: it was like being inside a closed box, but transparent for me. Then you perceive certain sounds, a phrase of his grandfather, a color of a tie, the moments thesis. There is defended, it all seems a film, a performance, there is with apparent calm. It is believed to be immune. But even the most trivial, then re-emerge with insistence. I remember my mother wearing the shoes when, out of school, an acquaintance said, "Madam, Moro was kidnapped!" Yeah, those shoes ...
- Studies in Eastern History as influenced in his artistic career?
the end-all effect. I realized that everything I had studied could not be something useful and feasible for my future. I do not remember why I suggested the professor of Persian "The message of Kafka," but I accepted it now: I was forced to read texts that somehow I could help.
In October 1992, the professor called me and told me that dried for several months since we had chosen the title of the thesis, I had not done more to hear. I was afraid to move forward.
... K. long remained on the wooden bridge that leads from the main road to the village, watching the apparent void.
professor's concern for my choice is not simple, the memory of a young researcher who had asked me if I was over ...., jew, we talked about my father.
... Dony An-na-Qadr bonbast ham bude ast ... at the bottom of the world is a dead end. often comes back to me this phrase Hedayat, who accompanied me throughout the year; get rid of it was not easy.
The need to dwell on memories, images, experiences, understand them and, just like when I started studying, then Mesopotamia and Persia were the ancient architecture, the religious thoughts, the towers of silence and then the gardens, mosques, Islam a thousand multi-faceted, and my pictures often mingled with them.
- His works, often being usable and livable, interact, interact with the viewer. What is the value that gives this relationship between object and viewer?
- and apparently I would say potentially. I do not seek dialogue. The relationship is between me and my images. The works I have done are bar- exception, there the project relates to the use.
- What is the relationship between his art and the original operation performed with the brochure, published on the occasion of the award Guglielmo Marconi?
- The leaflet was advertising. I did not want the publicity by my works. I made a brochure of drawings on the theme of advertising and brands.
- Among the brands, including some not directly related to the telecommunications world, and less tied to the concept behind the award, and not included among the sponsors. Such as the Martini, Lavazza and a beer of China. Why are these intruders?
- Some companies are trademarks of the history of communication and not only of our country and trademarks are also part of our history. I made a book of premium brands and those of my favorites.
- What is the technique used for these works?
- Colored pencils on paper.
- In general, do you think there is a link between the phenomenon of vintage art and its operations?
- The phenomenon of the vintage in quality and value, use objects that have personal value, emotional sometimes morbid: who decides what the costume-the-past is important, in my work I decide.
- We often talk about meeting inseparable between the language of art and design, so that, in this regard, Germano Celant refers to the formation of a "new aesthetic status." What is your position on this?
- An object made of wood with four legs is a chair if it makes a designer, is a sculpture if an artist does. I personally use original materials and objects, often unique, and I never remember a reproducibility of my work so I am very far from the design. This also applies to some projects such as the bar that I did it because they too are not playable and I never thought about an industrial mass production.
- What are your future plans?
- A large (why use the three floors of museum) exhibition at the Museo Marino Marini in Florence on 16 June. It's called Dress vs. Habitat because the sun burns with ozone, the water is cold even if it is pure and the wind, as they say, makes them crazy.
Leonardo Iuffrida
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