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One of the central themes of Favini’s practice is travel. In Tappetaro, which title might sound curious, the artist reflects on a residency program that he attended in Morocco in 2017.
Through memory, photographic images and videos, Favini remembered the atmosphere lived in the African country eight years before, in order to produce a new body of work.
The artist spent a month on the Moroccan Atlas, where he met carpet craftswomen, dealers and historians. During this period, Favini learnt the Moroccan weaving, the Berber one in particular, as a biographical writing on female life. Women and their intimacy became the cornerstone of a narrative, but it also was a story of forgotten collective memory.
During the 70s, collectors showed interest in ethnic objects and carpets.
A great body of ancient Berber carpets was acquired by a group of Swiss and American collectors. As previously happened in other countries, this process led to the loss of the know-how,...More
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Press release
One of the central themes of Favini’s practice is travel. In Tappetaro, which title might sound curious, the artist reflects on a residency program that he attended in Morocco in 2017.
Through memory, photographic images and videos, Favini remembered the atmosphere lived in the African country eight years before, in order to produce a new body of work.
The artist spent a month on the Moroccan Atlas, where he met carpet craftswomen, dealers and historians. During this period, Favini learnt the Moroccan weaving, the Berber one in particular, as a biographical writing on female life. Women and their intimacy became the cornerstone of a narrative, but it also was a story of forgotten collective memory.
During the 70s, collectors showed interest in ethnic objects and carpets.
A great body of ancient Berber carpets was acquired by a group of Swiss and American collectors. As previously happened in other countries, this process led to the loss of the know-how,...More