Ada Favaron Portfolio Ada FavaronMailInstagramCV


Freelance graphic designer, artist and radio host based in Berlin.


Ada primarily operates within the cultural sector.
Her work encompasses a wide range of disciplines, including exhibition design,
hand-drawn illustrations, web wireframes, typography, branding, posters, and LP/cassette artwork.
Ada’s creative process embraces contrasts and blends analog methodologies with digital tools, guided by an awareness to intersectionality.
Her practice is driven by archival research, the aesthetics of bootleg culture,
and anthropological phenomena, which inform and deepen her visual language.




ClientProjectYearCategory
Berlinale TalentsBerlinale Talents 20262025Identity
/Eros DJs2025Poster, Social Media
SolidSolid2025Logo
Matters of ActivityFragmented Futures2025Poster
Berlinale TalentsBerlinale Talents 20252024Identity
OkraOkra – Can2024Tape
Willi-Graf GymnasiumSpuren der Widerstand2024Workshop
Dream Journal30 Jahre Dream Journal2024Poster, Social Media
Berlinale TalentsBerlinale Talents 20242023Identity
Ami GarmonPatience and Hunger2023Poster
Matters of ActivityMatterscapes. A studio visit2023Publication, Poster
Matters of Activity2019—2022 Jahresbericht2023Publication
Freie Universität BerlinBeauty and the State2023Poster
Humboldt Universität BerlinInstitut für Europäische Ethnologie2022Identity
Matters of ActivityScaling Matters2022Publication, Poster
Black Land e.V.Black Land2022Poster, Social Media
Ostkreuzschule für FotografieJahrgang Fünfzehn2022Identity
Ostkreuzschule für FotografieJahrgang Fünfzehn2022Catalogue
Ami GarmonPatience and Hunger 2021Tape
Ami Garmonamigarmon.com 2021Website
Imad Gebrayelimadgebrayel.com 2021Website
Master Institute of Visual CulturesMaster Catalogue 2018 2018Catalogue
Master Institute of Visual CulturesMaster Catalogue 2017 2017Catalogue



Non-commercial projects
PlatformProjectYearCategory
PersonalStudy on Rigatoni2026Painting
PersonalBig Spaghetti2026Short Film
PersonalBurracomania Shirts2026Serigraphy
PersonalBurracomania2025Illustration, Serigraphy
Hallo:RadioLa notte che Pinelli2022Podcast
Hallo:RadioMateriale Resistente2021Podcast
PersonalThe Great Beyond2018Film
PersonalPina – tanzt, tanzt, tanzt, tanz2018Poster
PersonalHeimat2017Film
PersonalArea +312017Short Film
PersonalGabber Generations2017Publication
The One MinutesOuting2017Short Film
PersonalBurracomania2025


Single channel, 60 seconds
Stereo sound
2026


Big Spaghetti
Notes on Pasta, Repetition, and the Cinematic Overrepresentation of a Shape


“Spaghetti Western” is an established film genre, yet no convincing explanation has been offered for the persistent appearance of this specific pasta shape in the history of cinema. 
Spaghetti is everywhere: looped around forks, suspended mid-slurp, quietly occupying plates on dining tables across the world. Its recurrence suggests not coincidence, but convention.

Food functions in cinema as a narrative device. Shared meals operate as soft entry points into cultural difference; the dining table becomes a metaphorical threshold where the protagonist—and the viewer—encounters the Other. 
This strategy is neither new nor radical, it is efficient, legible, and emotionally economical. What is less clear is why this cultural shorthand has been outsourced almost exclusively to spaghetti.

Italy, a country of approximately 60 million people and several hundred officially recognized pasta shapes, is consistently represented by a single, elongated form. A shape with no edges, no regional specificity, and no resistance. Spaghetti flattens Italian identit(ies) into one continuous line: smooth, exportable, and endlessly reproducible.

The supremacy of spaghetti is not merely aesthetic; it is ideological. Unlike rigatoni, it leaves no room for disagreement. Unlike orecchiette, it carries no geography. Unlike farfalle, it suggests no playing around. Spaghetti signifies “Italian” without ever saying too much about Italy. It translates cultural specificity without demanding contextual knowledge.

One could argue this is coincidence, others that it is convenience. But repetition produces meaning, and meaning produces power. At a certain point, coincidence begins to resemble coordination.
Who benefits from a world in which Italian cultures are reduced to a single noodle? Who decided this was the safest possible shape for mass consumption? And why, after decades of cinematic exposure, are we still not allowed to see the protagonist eat penne?


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