Flavio Favelli

Flavio Favelli was born in Florence in 1967, in 1993 he graduated at the University of Bologna with a degree in Oriental Studies, only afterwards beginning his career as an artist. He currently lives and works in Bologna (IT).
His works have been exhibited in prestigious international institutions, including: Museo di Capodimonte, Naples (2022); GAM, Turin (2022); Fondazione Adolfo Pini, Milan (2021); Il bello inverso, Ca’ Rezzonico, Venice (2019); Albergo Diurno Venezia, Milan (2017); UNIVERS, A METAPHYSIC STORE, Venice (2017); Art Basel Hong Kong – the Encounters section curated by Yuko Hasegawa (2013); MAXXI, Rome (2015, 2012, 2010); Museo del Novecento, Milan (2012), MACRO, Rome (2012; 2011); RISO – Museo d’Arte Contemporanea, Palermo (2011), American Academy in Rome (2011, 2010); Tate Modern, London (2010), MCA, Chicago (2009), Fondazione Sandretto Re Rebaudengo, Turin (2008; 2007, 2002); Palazzo Grassi, Venice (2008), Elgiz Museum of Contemporary Art, Istanbul (2008), Benaki Museum, Athens (2008), La Maison Rouge (2007), MAMBO, Bologna (2007), Musée d’Art Contemporain de Nîmes, (2007); Creative Art Center, Beijing (2006); Musèe d’Art Moderne de Saint- Etienne, Saint- Etienne (2005), Istituto Italiano di Cultura, Los Angeles (2004), Museion – Museo d’Arte Moderna e Contemporanea, Bolzano (2003).
In 2012 the artist represented Italy at the 11th Biennale de La Habana and he has twice taken part – in 2003 and in 2013 – in the Venice Biennale. Flavio Favelli was chosen for the residence at the Italian Cultural Institute of Istanbul and in 2014 he had a solo show in the historic complex of the Galata Rum Okulu school.

Flavio Favelli creates works using old objects of décor or everyday use, such as lighting fixtures, picture frames, Fanta or Coca Cola bottles, trinkets that evoke the bourgeois aesthetic of the family environments he grew up in, or the Eastern cultures he studied at university. His works are collages, sculptures or installations in which these recycled materials are brought together, giving life to layers of meaning that isolate the object from its mere material reality, elevating it to an artistic dimension. This transition does not occur through the distortion of the object itself but rather through an amplification of its functional features, of its value as an object of use, as an object of décor, as an icon of the everyday life of the past, unwittingly existing in the present. The marked autobiographical component in these works (which also lies behind the artist’s rare performances), functions as a common filter for interpreting the various lines of inquiry that Flavio Favelli develops in all of his works, and, through a reflection on memory and the development of a “poetics of the object” centered around the exotic-everyday dichotomy, he threads together his own personal story with broader social history and political ideas.
Flavio Favelli’s works a marked sense of Italianness. In his art he develops and reworks the contradictions that came about with the rise of conceptual art (and pop-art) internationally, placing these theoretical frameworks inside the forms and achievements of the Italian conceptual tradition. The result are works with a hybrid soul, which make it difficult to know where to place him on the Italian art scene, and at the same time emphasizing the strong personal element that underlies the language used in each individual work.