Confetti, cement, nitrogen cylinder, carwash brushes, and woolen yarn are some of the materials Favaretto uses in her work. Never one to stick to a single form of expression, the artist flits between different languages—primarily installation and sculpture, but also drawing, video, performance and references to painting—adopting a profoundly empirical approach, which leaves room for improvisation, the unexpected, and error. This results in works that often have no predefined form, but where this is questioned by destructive processes (either human or mechanical) activated by the artist, starting with a reflection on the ephemeral nature of things, and on concepts of time, loss, entropy, traces, memory, and transformation. Pervaded by a tragic sentiment, which gains ground even where there seem to be fewer references and materials, Favaretto’s works question the fetish of the artwork, its aesthetic value and its very essence, through the recognition of the futility of the efforts that generate it and their potential for failure. The artist has exhibited in numerous museums and institutions, such as Tramway, Glasgow (2009), Frieze Projects, London (2007), Castello di Rivoli, Turin (2005), MoMA PS1, New York (2012 ), and MAXXI, Rome (2015), and in major international shows such as Sydney Biennial (2008), Sharjah Biennial (2009), Venice Biennale (2009), dOCUMENTA (13), Kassel (2012), Carnegie International, Pittsburgh (2013), and Manifesta, St Petersburg (2014).