Chiara Favini (2001, Milan) is a visual artist who lives and works in Milan. Her research took shape during her years of study at the NABA Academy of Fine Arts, where she developed an artistic language centered around the act of writing, understood as a process of exploring identity.

Her practice is characterized by an experimental approach to language, questioning the conventions between written and spoken, between writing and anti-writing, and between documentation and creation. Her work is fueled by a continuous reflection on how language can be both a vehicle for communication and a tool for deconstruction.

Her artistic focus is on alternative writing methods, drawing from literary and cinematic influences, thus seeking connections derived from deep, common anthropological roots embedded in the history of humankind.

Beyond the conceptual and artistic dimensions, her interest in writing extends to an investigation of its materiality: the act of tracing signs, the physical act of writing, and the relationship between text and support. This attention translates into research that explores not only the meaning of words but also their visual and performative value, questioning how writing can transform into an image and vice versa. Cinema and theater also play an important role in her approach, providing her with insights to explore the relationship between word, voice, and action. Her practice is enriched by a continuous dialogue between theoretical concepts and practical applications, fueling a constant reflection on the evolutions of language and writing.

Alongside her artistic practice, the author has expanded her involvement with the art world through a series of diverse professional experiences ranging from cultural mediation to artistic and museum assistance, as well as supporting the organization and setup of exhibitions and events. These roles have exposed her to different facets of the art sector, allowing her to gain a deep understanding of the dynamics that govern the production, presentation, and enjoyment of contemporary art. Her experience in cultural mediation has offered her the opportunity to explore various approaches to art communication, enabling her to develop a critical perspective that synergistically integrates her artistic practice with a continuous reflection on public engagement methods. The themes of interest do not only investigate aesthetics but also, especially, the conceptual structures and contexts in which art comes to life, highlighting the relationships between space, vision, and society, to create a dialogue between past and present, tradition and innovation.

Although her artistic work explores the act of writing, the word, and language, here she uses writing itself as a true tool, using it as a means of dissemination to delve into topics related not only to the world of art and culture but also to focuses and informative snippets on traditions or works often overlooked or unknown, bringing distant operations to light.

What happened to the Martinelli?
I probably just threw it on the floor and smashed it.
Probably? You don't know?
I suffer from, um... sporadic hallucinations.
Join the club.
Do you intend to kill Tom's Mujahideen?
Only in self-defense.
I understood writing could be dangerous. I didn't realize the danger came from the machinery.

(Naked Lunch, directed by David Cronenberg (1991))