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Author: Flavio Favelli


Gallery: Collezione privata   
Materiali: , ,

China Purple is a great environmental installation, an assembly of different types of furniture in burr cut, composed and recomposed, measuring 247 x 400 x 504 cm. It is a piece of an imaginary room made in person by Favelli, habitable but also observable from outside. The shelves contain five of Amarena Fabbri’s ceramic pots and some ceiling with tubes and neon signs. The total weight is about 300 kilograms.

The first time that China Purple has been exposed also coincided with its specific use as a “showcase” to present some artworks of artists invited to exhibit during the twenty years of Viafarini activities, who commissioned this Favelli’s artwork.

Excerpts from the technical interview to Flavio Favelli:

“The art is parallel to life, which must maintain a certain distance; I live this life and then try to create another one, because our reality is not that good. But this artificial world has its own reality and its environments and its affairs. Including the names that come from my images and these images originate from real places they lived and reworked and re-imagined and great places. This break down and reassemble things is a practice I would say literary and psychological as well as artistic. “

“[…] These furnishings briar belong to an era that I have lived, they are like those who were at vacation homes and evoking, just by their presence,  so many questions, so many memories, so many new pictures. […] I consider things, objects, not materials. The materials have something sacred, things and objects are holy; to say that there is something more, a step more, a development. Things have names, stories, particularity that materials don’t have. “

“The choice and durability is a matter of urgency. You can find the thing that just corresponds,the rest comes later and counts for little. Of course, there must be some knowledge, but everything must be sacrificed for the artwork, in addition to its image, a picture of it. You may fall after the world. […] My psychological condition does not include a something that has to do with durability or attention for the future of my artworks, or my archive. It would be too expensive and complicated to order the destruction of all my artwork after my death, but if I could just pushing a button … “

“A level exhibition, just that someone does not go on to the floor. Viafarini was an artwork usable, an habitable environment, but then I decided it was important to see it and that’s it. “

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