You have almost ten years of work behind you now. Lara preferred to end our conversation by talking about dignity, asking me: «Why, do you think we should talk about something else?». Will laughter bury us? Which is a quote from one of her works, E una risata vi seppellirà (Omaggio a Gino De Dominicis), from 2005. One last question has been removed from the text, as it remained without an answer.

She did laugh now and then, but not as often as I had imagined, before starting our conversation. We talked a lot about failure, not as defeat but as a process that reveals the aesthetic fetish that lurks behind the artwork: an obscure object, simultaneously sanctified and hidden. She never chooses the easiest way to capture the unexpected, the unpredictable, at times the impossible. Problematic, profound and acute, Lara Favaretto doesn’t tolerate compromises in her work. She did this in 1997, and then threw away the key. The artist mentions one in particular, which helps me to visualize my feeling of loss, Lost & Found, a series of suitcases she fills with objects and then closes with a lock. They remain closed up there, hermetically sealed in her work. Now the interview is done, but the reflections made when the recorder was off, between one question and the next, have been lost. I had the vivid sensation of finding myself inside a process of gestation of a work, but without the work. The interview took place in phases, with continuous modifications, revisions, erasures, rewrites. I have the feeling that many important parts of my conversation with Lara Favaretto, in the text below, have been left out. Once a week, an appointment not to be missed. Forty gripping conversations with the protagonists of contemporary art, design and architecture. In response to great demand, we have decided to publish on our site the long and extraordinary interviews that appeared in the print magazine from 2009 to 2011.

Marred for Life! by Jason Fulford