Lara Favaretto

  • Lara Favaretto, Momentary Monument IV (Kassel), 2012, four hundred tons of scrap metal, concrete, found objects. Installation view, Documenta 13, Kassel.

    Lara Favaretto

    THE FORMAT OF MY WORK is contingent on an artistic language that, in a state of objective randomness within the archive, investigates the space between destruction and reconstruction, collapse and recovery.

    The work’s support paradoxically draws on the weak point of its material. By doing so, it reveals the artwork’s vulnerability as an object that can alternate between states of hypermodernity and primitivism or shift from test case to relic over time—a transitory monument, an apparition that will eventually entirely disappear, unconscious and fluid.

    The support is an anonymous form in a


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2006.


    “Edvard Munch: The Modern Life of the Soul” (Museum of Modern Art, New York) In a rather cynical mode, I trudged uptown one day last spring to see the Munch show at MoMA for what I thought would be a cliché-ridden overview of Nordic gloom-goth. What I got instead was a hard punch to the gut: powerful color, radical ideas about the depiction of memory as space, paintings with emotional vanishing points rather than rational optical