The young fascist militant – Stefano Faoro: Artist Talk / Künstlergespräch (Online und im / and at Kunstverein Nürnberg) & Book Launch / Buchpremiere
Kunstverein Nürnberg, So / Sun 18.12.2022, 16:00
Oder Zoom-Meeting beitreten / Or joining Zoom Meeting :
Meeting-ID: 859 9734 2499
Stefano Faoro – The young fascist militant 04.11. – 18.12.2022
Gefördert durch / sponsored by Marianne und Hans Friedrich Defet Stiftung, da Vinci Künstlerpinselfabrik DEFET GmbH, Bezirk Mittel Franken und Nürnberg Die Bürgermeisterin Geschäftsbereich Kultur
We are pleased to announce a conversation with Stefano Faoro and the presentation of his publication “The young fascist militant”, published by the Verlag für moderne Kunst. The event will take place on Sunday, December 18, 2022 at 4:00 p.m. on the occasion of the finissage of the exhibition of the same name at the Kunstverein Nürnberg.
The Kunstverein Nürnberg – Albrecht Dürer Gesellschaft is happy to present Stefano Faoro’s first institutional solo exhibition, The young fascist militant. The show presents a new series of paintings, exhibited in the rooms of the Kunstverein and also dealing with its situational conditions, and a video work displayed only online. The link will be published on the website of the Kunstverein under the exhibition contribution.
All the works were produced in Nuremberg by Faoro during the Marianne-Defet-Malerei five months residency in 2022. The exhibition will be accompanied by a publication that will be presented during the artist’s talk and that will contain text contributions by Robert Müller and Eleanor Ivory Weber. Stefano Faoro (born in 1984 in Belluno IT), lives in Germany and Italy.
“Stefano Faoro’s conceptual practice is a sequence of traces left by cultural and social constellations in the objects and signs he addresses in his works. In the process, they appear in varying degrees of refraction. Sometimes understood as markers, as references to ‘themselves’, and the (social) space from which they are borrowed, they become commentary or, especially in his painterly works, they critically perform how every order tends to produce the naturalization of its own arbitrariness. These found objects, and systems of representation, become material through arrangement, appropriation, and restructuring, but above all, they become incorporated models of an often fractured economy, especially in terms of its emptying and destabilizing violence, and its sometimes grotesque unfoldings.” (Robert Müller)