The exhibition of Flavio Favelli, Deep Gold, Edited by Peter Gaglianò for Arte in Fabbrica, the company's exhibition space Gori Tessuti and Casa di Calenzano (Florence), is regularly open to the public and will continue until Sunday 28 March 2021 at the following times: from Monday to Friday, from 10.00 to 13.00 and from 15.00 to 18.00, Saturday morning by appointment.

The works presented are all unpublished and made specifically for the project: outside the factory the spectacular painting on the wall, Made in Italy, of almost 120 square meters, will remain as a permanent intervention even after closure. Within the space, five major works: monumental installations Eldorado e Large Wardrobe, made by the artist by assembling old briar furniture, the two collages Time Golden and the big neon on the wall, National Office. At the entrance, a “cameo”: the two small ceramic works Zenith. On the website of the publishing house The Ori and the catalog is available on display:

In Deep Gold Flavio Favelli declines the terms of his aesthetics in some works that take on the luster of gold as the epiphenomenon of this widespread, irreducible way of being. The gold evoked by the title has the same mimetic role as a fake but good Chinese vase, a wallpaper that looks like fabric and other innocent fictions that adorned the Bolognese house of the artist's grandparents whose living room, "perhaps with copied ”, can also be assimilated to a Venetian noble palace. It is not the authentic precious metal but its substitute, a kind of metaphysical princisbecco who, with its fictitious luster, disguises less noble materials with patinas and varnishes: treated woods, metal alloys, biscuit boxes and cigarette packets.

The depth that this gold conceals beyond the surface layer is revealing of its own fictional mechanism; the people who surrounded themselves with the desired imitations knew the value of all their "good things in bad taste" and knew the price, having carefully measured it before and after the purchase. And with the same honesty they admitted without pretense the quality of pomp only presumed and translated into a more modest but indestructible prestige that framed them, reassuring them, in the social position to which they felt they belonged, a little narcissistically, for a misunderstood spirit of class . Looking at all this with painfully sensitive participation, Favelli composes a portrait of a strictly middle-class family group in an interior.

"Due to a kind of introjection of the things of the house, the true bourgeois home manifests its being in every object and room", writes the artist and, even if the principle of every reflection, every impulse and every pain is his home (that of grandparents, parents, his child, he adult), the result that we observe in all his works acquires a choral voice in which it is easy for anyone to recognize a fragment, at the same time nerve center and comforting, of their own subjective or family history, scattered tesserae that describe a complex social structure.

Finally, taking a step back for an overall vision that allows us to grasp the heteroclite multitude of themes that converged in the artist's research, we can see all around the fetishes, taboos, conflicts and contradictions of an entire nation, of a century, the twentieth century, tortuous and violent, which has repeatedly proposed an assumption of responsibility to this indefinable and frayed middle class, has offered him the possibility of being a protagonist of history and not just a witness, victim or commentator, but has asked in exchange for a perhaps too high price in revising one's status, indispensable for a discursive construction of alternatives. (Pietro Gaglianò).